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THE  LIBRARY 

OF 

THE  UNIVERSITY 

OF  CALIFORNIA 

LOS  ANGELES 


551 


iii 


Luigi   Pulci   and  the   Animal 

Kingdom 


BY 


JOHN  RAYMOND   SHULTERS 

A.  B.  University  of  Illinois,  1910 
A.  M.   University  of  Illinois,   1911 


THESIS 

SUBMITTED  IN  PARTIAL  FULFILLMENT  OF  THE  BEQUIBEMENTS  FOB  THE  DEGREE 

OP  DOCTOR   OF   PHILOSOPHY   IN  ROMANCE   LANGUAGES   IN   THE 

GRADUATE  SCHOOL  OF  THE  UNTVEBSITY  OF  ILLINOIS 

1918 


Baltimore 

J.  H.  FURST  COMPANY 

1920 


Luigi    Pulci    and   tne   Animal 

Kingdom 


BY 


JOHN   RAYMOND   SHULTERS 

A.  B.   University  of  Illinois,  1910 
A.M.    University  of  Illinois,   1911 


THESIS 

SUBMITTED  IN  PAR'nAL  FULFILLMENT  OF  THE  BEQTJIBEMENTS  FOB  THE  DEGREE 

OP   DOCTOR   OF   PHILOSOPHY   IN   ROMANCE    LANGUAGES   IN    THE 

GRADUATE  SCHOOL  OF  THE  UNIVEBSITY  OF  ILLINOIS 

1918 


Baltimore 

J.  H.  FURST  COMPANY 

1920 


^9 


4G3 


TABLE  OF  CONTENTS 


PAGE 

I.     Introduction   1 

II.     The  Padiglione  Episodes 7 

III.  Animals  not  found  in  the  Padiglioni 40 

IV.  PuLci's  Minor  Works 102 

V.  Glossary  and  Index  of  Animals 107 

VI.  Bibliography  113 


BIBLIOGRAPHICxiL  ABBREVIATIONS 


Archiv.  Archiv  fiir  das  Studium  der  neueren  Sprachen  und 
Literaturen.  , 

Arch.  Glott.    Archivio  Glottologico  Italiano. 

Aiisg.  11.  Abh.  Ausgaben  und  Abhandlungen  aus  dent  Ge- 
biete  der  RomaniscJien  PhUologie. 

Best.  Tosc.  II  Bestiario  Toscano  (text,  ed.  Garver  and 
McKenzie. ) 

Franz.  Stud.    Franzosische  Studien. 

Gio?.  Dant.     Giornale  Dantesco. 

Gior.  Stor.    Giornale  Storico  della  Letteratura  Italiana. 

G-McK.     Garver  and  McKenzie,  II  Bestiario  Toscano. 

G-W.  Goldstaub  and  Wendriner,  Ein  T osco-Y enezianischer 
Bestiarius. 

Half.  Halfmann,  Die  Bilder  und  Vergleiche  in  Pulci's 
Morgante. 

Leon.  Leonardo  da  Vinci,  Allegoric,  in  Frammenti  etc.,  ed. 
Solmi. 

O.    Orlando,  ed.  Hubsclier. 

P.  M.  L.  A.  Publications  of  the  Modern  Language  Associa- 
iion  of  America. 

Rein.  Reinsch,  Das  Thierbuch  des  Normannischen  Dichters 
Guillaume  le  Clerc. 

Rom.  Forscb.    Romanische  Forschungen. 

St.  The  Strozzi  Manuscript  of  an  unpublished  Italian  bes- 
tiary text,  a  table  of  whose  contents  is  given  in  G-W,  pp.  82-89. 

Wald.    Mayer,  Der  Waldensische  Pliysiologus. 


LUIGI  PULCI  AND  THE  ANIMAL  KINGDOM 


Introduction 

The  most  important  details  of  Luigi  Pulci's  life,  in  so  far  aa 
they  are  known,  have  been  noted  both  by  writers  covering  the 
whole  field  of  Italian  literature  ^  and  by  those  dealing  with  the 
more  limited  subjects  of  the  Romances  of  Chivalry  or  of  the 
individual  work  of  Pulci  himself.^  It  is  necessary  to  set  down 
here,  then,  only  siich  essentials  as  may  serve  as  a  guide  in  placing 
his  work  properly  in  regard  to  time  and  milieu.  He  was  born 
in  Florence  in  1432  and  spent  much  of  his  life  at  the  court  of 
Lorenzo  de'  Medici,  to  whom  he  was  attached  by  many  ties  of 
friendship  and  obligation.  His  greatest  work,  the  Morgante,  is 
dedicated  to  Lucrezia  Tornabuoni,  mother  of  Lorenzo,  who  was, 
it  appears,  an  even  more  sympathetic  patron  than  her  son.  The 
latter  part  of  his  life  was  troubled  by  debts  and  family  cares, 
to  which  were  added  minor  controversies  with  the  religious 
authority;  but  through  all  these  difficulties  he  seems  to  have 
maintained  a  serenity  and  cheerfulness  which  kept  him  from 
becoming  embittered.  Even  when  he  expresses  the  fear  of 
"  falling  into  the  mouths  of  the  frati  "  for  some  of  his  utterances 
about  religion,  he  turns  the  matter  aside  with  a  jest.^  That  the 
character  of  his  work  was  strongly  influenced  by  his  association 
with  the  coterie  of  writers  at  the  court  of  Lorenzo  is  apparent 
from  a  study  of  it.  As  to  his  place  in  the  development  of 
Italian  literature,  he  stands  as  a  link  between  the  popular  and 
the  artistic  poets.^     He  died  at  Padua  in  1484. 

*  V.  Gaspary,  Storia  della  letteratura  italiana,  ii,  251 ;   d'Ancona-Bacci, 
ifanuale,  ii,  123. 

*  V.  Einstein,  Luigi  Piilci  and  the  Morgante  Maggiore,  p.   1;  Pellegrini, 
La  vita  e  le  opere  di  Luigi  Pulci. 

*v.  Morg.,  xxvni,  42. 

*  T.  Einstein,  op.  cit.,  preface. 

1 


2  Luigi  Pulci  and  the  Animal  Kingdom 

The  Morgante,  or  as  it  is  sometimes  called,  Morganle 
Maggiore,  has  also  been  discussed  bj  nmnerous  writers  since 
1867,  when  Kajna  published  his  article.  La  materia  del  Mor- 
gante in  un  ignoto  poema  cavalleresco  del  secolo  XV,  in 
Propugnntore,  in  which  he  established  the  origin  of  the  poem. 
Halfmann,  in  Die  Bilder  und  Vergleiche  in  Pulci' s  Morgante, 
Marburg,  1884,^  studied  images  and  comparisons  as  used  by 
Pulci  in  embellishing  his  work,  and  Hiibscher  in  Orlando  die 
Vorlage  zu  Pulci' s  Morgante,  Marburg,  1886,^  published  the 
text  of  the  Orlando  with  a  discussion  of  the  poem  and  its  rela- 
tion to  the  Morgante.  These  three  publications  form  a  base 
upon  which  has  been  built  up  a  fairly  large  body  of  study  and 
criticism  with,  however,  some  important  omissions.'^  The 
Morgante  has  been  assigned  its  place  in  literature,  its  prede- 
cessors in  chivalric  romance  have  been  found,  and  its  literary 
worth  has  been  appraised — not  always  justly.  But  seekers 
after  Pulci's  sources  have  neglected  almost  entirely  one  field 
for  study  which  is  prolific  in  interesting  material  and  useful 
to  students  in  a  quite  different  field,  that  of  the  fables  and 
bestiaries.  The  poem,  practically  from  beginning  to  end,  teems 
with  references  to  animals,  both  real  and  fabulous,  stories  about 
them,  fables,  comparisons,  names  and  a  wealth  of  material  taken 
from  nature  itself.  These  animal  references,  which  have 
received  only  passing  notice  from  former  writers,  form  the 
subject-matter  of  the  present  study. 

Eajna,  in  designating  the  Orlando  as  the  source  of  the  first 
twenty-three  cantos  of  the  Morgante,  furnishes  a  point  of  depar- 
ture for  this  work,  since  that  portion  contains,  besides  many 
comparisons,  several  important  fables  and  two  Padiglioni — 
elaborately  decorated  tents,  covered  with  pictures  of  animals. 
The  last-named  mode  of  introducing  fable  and  bestiary  material 
is  a  source-idea  which  Pulci  expanded  to  great  lengths  in  two 
passages  of  his  poem  in  which  he  gives  long  catalogues  of 
beasts.^     The  Margutte  episode  contained  in  Cantos  xviii  and 

^Ausg.  u.  Abh.,  xxii.  *  Aiisg.  u.  Abh.,  Lx. 

'  For  further  references  see  Bibliography. 
*Morg.,  XIV,  44-86;  XXV,  307-332. 


Luigi  Pulci  and  the  Animal  Kingdom  3 

XIX  has  been  quite  generally  conceded  to  be  Pulci' s  own  ^  and 
was  perhaps  the  original  on  which  he  grafted,  first  the  Orlando 
and  later  the  Spagim,  modifying  and  enlarging  them  to  suit  his 
purpose.  At  all  events,  no  trace  of  it  exists  in  the  Orlando 
and  it  becomes  necessary  to  seek  other  sources  for  its  animal 
episodes.  Ilalfmann's  work,  in  so  far  as  it  concerned  animals, 
was  by  its  title  limited  to  comparisons  and  images,  without 
attempt  to  study  sources.  Hiibscher  mentions  some  of  the 
beast-stories  in  the  course  of  his  study  but  does  not  discuss 
them  further  than  is  necessary  for  the  purposes  of  his  work, 
Einstein  says  (p.  44,  under  the  heading  ^'  Scientific  interest  ")  : 
"  Hie  (Pulci)  is  interested  in  the  facts  of  natural  history  and 
shows  a  considerable  knowledge  of  birds — at  least  of  their 
names.  In  one  part  (xiv,  56  on)  there  is  a  long  catalogue  of 
fishes  and  animals,  taken  perhaps  from  some  Mediaeval 
bestiary."  ^^  This,  with  the  explanatory  notes  of  some  of  the 
more  recent  editions  of  the  poem,^^  is  the  sum  of  what  has  been 
done  in  attempting  to  study  Pulci's  use  of  the  animal  kingdom 
in  his  writings.  There  has  been  thus  far  no  systematized  exami- 
nation of  this  portion  of  his  work,  either  for  the  purpose  of 
correlating  it  with  fable  and  bestiary  literature  ^"  or  of  calling 
attention  to  its  literary  value,  which  in  many  cases  is  not  small. 
Among  the  more  obvious  of  Pulci's  general  sources,  after  the 
Orlando  and  the  Spagna,  are  the  Bible,  Dante  and  the  classic 
mythology.  He  mentions  certain  authors  himself  as  having 
been  his  guides  in  composing  his  poem,  but  since  some  of  these 
are  fictitious  ^^  and  the  influence  of  others  is  not  noticeable  to 

•v.  Truffi,  Di  una  prohdbile  fonte  del  Margutte,  p.  200,  where  he  makes 
it  fairly  certain  that  Luigi  Pulci  got  the  germ  of  this  character  from  the 
Sosia  of  Luca's  Driadeo  d^Amore  which  goes  back  to  Plautus'  Amphitryon. 

'"He  fails  to  note  that  the  description  of  the  padiglione  begins  in  44  and 
the  catalogue  of  names  in  47 :  he  also  ignores  completely  the  long  list 
beginning  in  xxv,  311. 

"  Sermolli,  Firenze,  1855  (the  edition  cited  in  this  study);  Camerini, 
Sermolli  ed  altri,  Milano,  1878;  Volpi,  Firenze,  1914. 

^  Goldstaub  and  Wendriner  in  Ein  Tosco-Venez'ianischer  Bestiarius,  note 
occasionally  uses  by  Pulci  of  bestiary  material. 

"Arnaldo,  xxvrn,  26,  Ormanno,  xxviii,  50  and  Lattanzio,  xxviii,  53. 


4  Luigi  Pulci  and  the  Animal  Kingdom 

any  extent,  one  must  conclude  that  his  citation  of  authorities 
is  a  species  of  literary  camouflage  which  he  uses  principally 
for  humorous  purposes.  ^^  There  is  one  author,  however,  whom 
he  mentions,  whose  influence  is  directly  apparent  in  the  descrip- 
tion of  some  of  the  animals.  This  is  Cecco  d'Ascoli,  whose 
Acerha  contains  several  bestiary  chapters.  In  Morgante  xxiv, 
112,  Pulci  says: 

Ancor  resta  nel  cuor  qualche  scintilla, 
Di  riveder  le  tanto  incantate  acque, 
Dove  gia  FAscolan  Cecco  mi  piacque. 

In  some  cases  Pulci's  creatures  are  described  bv  traits  which 
appear  in  the  A  cerba  and  are  not  to  be  found  in  other  works  to 
which  he  had  access.  It  is  probable  that  he  was  familiar  with 
the  Tesoro  of  Brunetto  Latini  and  also  with  some  version  of  the 
Bestiario  Toscano,  of  which  numerous  manuscripts  existed  in 
his  time.^^  Pliny's  Natural  History  furnishes  the  basis  for 
some  of  the  fabulous  creatures.^^  In  addition  to  these  literary 
sources,  Pulci  used  the  field  of  ligature  itself,  from  which  he 
drew  long  lists  of  the  more  familiar  creatures  to  decorate  the 
walls  of  Luciana's  Padiglione.  His  acquaintance  with  the 
animal  kingdom  grew,  doubtless,  out  of  the  hunts  and  fishing 
excursions  of  the  Court  and  he  must  have  exercised  an  im- 
mense observation  and  have  felt  a  certain  attraction  towards 
the  beasts  and  birds  of  his  native  forests. 

The  literary  worth  of  the  beast  episodes  lies  almost  always 
in  their  humorous  quality.  Sometimes,  it  is  true,  as  in  the  case 
of  the  death  of  Orlando's  faithful  horse,  Vegliantino,  and  his 

"Cf.  Einstein,  p.  44. 

^^v.  Garver-jMcKenzie,  p.  Iff.  Also  McKenzie,  Unpublished  Manuscripts 
of  Italian  Bestiaries. 

"  The  Allegoric  of  Leonardo  da  Vinci,  which  have  many  animal  traits  in 
common  with  the  Morgante,  were  written  too  late  to  be  considered  as  a 
possible  source.  Solmi's  edition  of  his  writings  {Leonardo  da  Vinci: 
Frammenti  Letterari  e  Filosofici) ,  gives  (p.  xvii)  in  the  author's  own  words 
the  date,  1508.  v.  McKenzie,  Per  la  storia  dei  hestiarii  itaUavi,  p.  358. 
He  shows  that  Leonardo  used  the  Fiore  di  virtu  for  the  first  35  animals 
and  the  Acerha  for  a  second  group. 


Luigi  Pulci  and  the  Animal  Kingdom  5 

master's  lament  over  him/^  the  animal  plays  a  part  in  a  serious 
scene;  but  in  a  large  majority  of  cases  it  is  used  to  excite  the 
laughter  of  the  reader.  Pulci's  humor  sometimes  descends  to 
buffoonery,  but  in  general  he  possesses  a  drollness  of  expression 
and  a  quaintness  of  style  which  present  the  creatures  in  the  most 
ludicrous  fashion  possible.  Take,  for  example,  Rinaldo's 
attack  upon  the  dragon,  iv^  63 : 

Parea  che  I'aria  e  la  terra  s'accenda, 

Rinaldo  aveva  spugna  con  aceto, 

E  tutti,  perche  il  fiato  non  gli  offenda:  ^^ 

E  disse:  O  animal  poco  discrete, 

Che  pensi  tu,  che  no'  siam  tua  merenda, 

Poi  che  tu  vieni  in  qua  contra  divieto  ? 

or  the  incident  of  Morgante  and  Margutte  finding  the  sleeping 
elephant  leaning  against  a  tree  in  the  forest,  xix,  74  ff. 

lo  veggo  quivi  appoggiato,  Morgante, 
A  un  albero  un  certo  compagnone, 
Che  par  che  dorma,  e  non  muove  le  piante : 
Di  questo  non  faresti  tu  un  boccone. 
Morgante  guarda :  egli  era  un  liof ante, 
Che  si  dormiva  a  sua  consolazione ; 
Ch'era  gia  sera,  e  appoggiato  stava. 
Come  si  dice,  e  col  grifo  russava. 

Pulci  here  renders  ridiculous  the  story  told  as  fact  in  the 
bestiaries.  In  other  instances  he  relates  actions  which  appear 
ridiculous  in  the  light  of  modern  knowledge  of  natural  history, 
but  which  were  believed  seriously  in  his  time,  as  in  th^-case  of 
the  beaver  or  of  the  ibis  (q.  v.  pp.  20,  34).  Margntte's  di^ath, 
caused  by  excessive  laughter  at  the  antics  of  a  monkey  engaged  ' 
in  putting  on  and  taking  off  his  boots,  is  perhaps  the  best 
example  of  an  episode  in  which  an  animal  is  used  for  humorous 

"xxvn,  101  ff. 

'*  Apparently  an  early  form  of  gas-mask. 


6  Luigi  Pulci  and  the  Animal  Kingdom 

effect  (xix_,  147  ff.)  ;  this  also  is  taken  from  a  serious  discus- 
sion, that  of  a  method  for  catching  monkeys.  ^^ 

In  working  over  the  materials  which  he  used  as  sources  Pulci 
took  the  greatest  liberties,  not  only  in  regard  to  volume  but 
also  in  regard  to  content.  In  the  case  of  the  Orlaiido  as  a 
whole  he  expanded  it  greatly,  inserted  fable  and  bestiary  mate- 
rial and  put  new  life  into  the  dry,  uninteresting  romance  which 
it  was  as  he  found  it.  The  Margutte  story  also  was  interpolated 
in  the  midst  of  the  account  of  the  knights'  adventures.  The 
fables  which  he  found  readv  to  hand  in  the  Orlando  he  did  not 
change  in  any  essential  features,  but  he  re-worded  them  and 
changed  their  form  -°  to  suit  the  demands  of  his  own  poem. 
Those  which  he  took  from  other  sources  he  treated  in  much 
the  same  way,  with  a  quite  general  adherence  to  the  story  as 
he  found  it.-'^  The  bestiary  material,  however,  shows  that 
Pulci  used  much  freedom  in  shifting  characteristics  from  one 
creature  to  another  and  in  adding  others  of  his  own  invention: 
in  some  cases  it  is  probable  that  he  invented  the  creatures 
themselves.  The  serpent-group,  in  particular,  shows  many  of 
these  shifts  of  characteristics  which  mark  sometimes  differences 
among  the  sources  themselves,  sometimes  Pulci's  own  fancy. 
The  detailed  study  which  occupies  the  succeeding  chapters  will 
serve  to  bring  out  these  differences  and  to  establish,  as  far  as 
possible,  Pulci's  sources  and  the  amount  of  original  material 
which  he  contributed. 

I*3'ature,  as  the  Italy  of  Pulci's  time  showed  it  to  him, 
furnished  him  with  material  for  some  of  the  most  fatiguing 
passages  of  his  poem — those  in  which  he  lists  animals,  birds, 
fishes,  serpents,  apparently  for  the  mere  purpose  of  showing 
his  knowledge  of  natural  history.  These  unfortunate  stanzas 
do  show  not  onlv  that,  but  also  a  considerable  amount  of 
mechanical  ingenuity  in  grouping  the  names  in  conformity  to 

"v.  bertuccia,  p.  47. 

^"v.  for  example  the  "Ant  and  horse's  skull,"  ii,  55,  and  the  "Cock  and 
fox,"  rx,  19. 

^  V.  the  "  Fox  and  wolf  in  well,"  p.  100. 


Luigi  Pulci  and  the  Animal  Kingdom  7 

rhyme  and  metre.  Fortunately  this  doubtful  sort  of  inspiration 
was  not  the  only  one  which  Pulci  found  in  the  forest  and  its 
creatures :  wherever  he  needed  an  apt  simile  or  sought  a  vigorous 
comparison  he  turned  most  commonly  to  the  animal  kingdom 
for  it.  All  the  familiar  and  trite  comparisons  are  to  be  found 
in  the  greatest  profusion — the  lion  as  a  symbol  for  strength, 
the  swallow  for  speed,  the  pig  for  filth,  and  a  multitude  of 
others,  to  which  are  added  many  of  Pulci's  own  invention.  All 
in  all,  his  recognition  of  the  animal  kingdom  as  a  fruitful  source 
of  literary  embellishment  is  an  interesting  and  notable  feature 
of  his  work. 

II 

The  Padiglione  Episodes 

Of  the  360  animals  mentioned  by  Pulci,  315  ^  are  to  be 
found  in  the  padiglione  erected  by  Luciana,  daughter  of  Mar- 
silio,  in  honor  of  Rinaldo  (xiv^  44-86)  and  in  the  commentary 
of  it  made  by  Astarotte  (xxv,  307-332).  Elaborately  decorated 
and  embellished  tents  were  common  in  the  Old  French 
Romances  ~  and  the  Italian  writers  took  over  the  idea  in  their 
poeons.  Pulci  found  the  model  for  his  padiglione  in  the  Orlando 
(xxviiij,  9  ?-15).^  Earlier  in  the  poem  there  is  a  short  descrip- 
tion of  the  padiglione  of  the  giant  Marcovaldo  (O.  xxiii^  39- 
XXIV,  2),  which  names  several  common  animals — ^'  orsi,  volpi, 
lupi  e  toro,"  etc.,  and  concludes  the  list  with  ''  Altri  animali, 
non  saprei  dir  quanti."  Pulci,  in  the  corresponding  passage 
(xii,  42  ff.),  records  the  incident  of  Orlando's  combat  with  the 

^  These  totals  include  names  for  male,  female  and  young  of  the  same 
species  and,  in  some  cases,  different  names  for  the  same  animal. 

'  Eajna,  Fonti  delVOrlando  Furioso,  p.  378.  "  Gli  autori  di  vere  e  pro- 
prie  chansons  de  geste  mettono  il  piede,  ma  non  sguazzano  in  queste  acque." 
Among  the  most  notable  padiglioni  which  he  cites  are  those  of  the  Ogier, 
the  Rom<in  de  ThMes  and  the  Renart  le  Contrefait  in  Old  French  and  the 
Aspramonte,  the  Rinaldo  and  the  Danese  in  Italian.  Smaller  groups  are 
found  in  Ciriffo,  iv,  25,  Lorenzo's  Selve,  p.  36  and  the  Driadeo,  i,  105. 

'  There  is  a  lacuna  in  the  MS.  which  makes  it  impossible  to  say  exactly 
where  the  description  of  the  padiglione  begins. 


8  Luigi  Pulci  and  the  Animal  Kingdom 

Saracens  over  liis  curiosity  in  regard  to  the  padiglione,  but  does 
not  describe  the  animals  depicted  on  it — a  curious  omission  on 
his  part,  considering  the  immense  elaboration  which  he  gives 
to  the  padiglione  of  Luciana  later  on.  This  is  the  first 
padiglione  incident  of  the  Morgante,  unimportant  for  the 
sources  of  Pulci's  animal  episodes,  since  the  only  trait  he  copies 
is  the  fact  that  the  material  is  cuoio  di  serpente. 

The  second,  by  far  the  most  important,  is  the  padiglione  of 
Luciana,  mentioned  at  the  beginning  of  this  chapter.  In  brief, 
its  history  is  as  follows :  Rinaldo,  while  at  Siragozza,  tames  a 
wild  horse  which  has  been  terrorizing  and  killing  the  people  of 
the  surrounding  country:  by  this  feat  he  wins  the  love  and 
gratitude  of  Luciana,  daughter  of  King  Marsilio.  Later 
Rinaldo,  on  a  journey  to  the  Orient,  summons  Luciana  to 
accompany  him ;  and  on  her  arrival  she  brings  with  her  the 
magnificent  tent  described  in  xiv,  44-86,  as  a  gift  to  Rinaldo. 
Stanzas  2-13  of  O.  xxviii  ■*  are  missing  in  the  manuscript,  but 
Rajna  ^  indicates  that  this  padiglione  is  practically  identical 
with  one  attributed  to  a  certain  Michele  da  Siena  and  found 
copied  intact,  or  nearly  so,  in  various  works. ^  The  version 
given  at  the  end  of  El  cantare  di  Fierabraccia  et  Ulivieri,'^ 
judging  from  O.  xxviir,  14-15,  is  practically  the  same  as  that 
of  the  Orlando.  This  padiglione  is  divided  into  four  parts 
representing  the  four  elements:  i  Air,  ii  Earth,  iii  Water,  iv 
Fire.  In  each  section  appear  the  animals  appropriate  to  the 
element,  except  that  the  salamander  is  not  found  in  Fire, 
though  Pulci  places  it  there  in  his  version.  He  also  transposes 
the  sections,  which  appear  in  the  Morgante  in  the  following 
order:  i  Fire,  ii  Air,  iii  Water,  iv  Earth.  The  whole  episode 
is  a  good  example  of  the  way  in  whioh  he  enlarges  upon  his 
model  and  fills  out  his  poem  from  his  sources.  The  Padilion 
del  Be   Fierahraccia  consists  of   8   stanzas   and  mentions  49 


*  V.  p.  7,  note  3. 

**  Fonti  deirOrlando  Furioso,  p.  379. 

•  lUd. 

'Ed.  Stengl:  Avjifi.  u.  Abh.,  n,  185. 


Luigi  Pulci  and  the  Animal  Kingdom  9 

creatures :  in  the  Morgante  the  description  occupies  42  stanzas 
and  mentions  223  creatures.  How  many  of  these  were  taken 
from  O.  is  approximately  shown  in  the  following  table: 

I.    Fire.    (Morg.  xiv,  44-45),    None.    The  salamander  does 
not  appear  in  O. 
II.    Air.    (46-63).    3.  Astor,  moscardo,  sparvier.     (Found  in 
Earth  division  of  Fierabraccia.) 

III.  Water.  (64-71).  8.  Almone  (salmone),halena,  dalfino, 
muggin,  pesce  cane,  sere^ia,  storione,  tonno. 

IV.  Earth.  (72-86).  25.  Bertuccia,  cammella,  cavallo, 
cervio,  cinghial,  coniglio,  dragone,  ermellino',  faina,  gatto 
mamm^one,  leofante,  leopardo,  liocorno,  lione,  lontra, 
lonza,  lupo,  orso,  pantera,  scoiatto,  serpente,  spinoso, 
tasso,  vaio,  volpe.  Of  the  223  of  Morg.  xiv,  44-86,  only 
about  36  are  taken  from  the  corresponding  passage  of  O.^ 

Of  the  animals  mentioned  above  as  common  to  both  poems, 
the  following  are  merely  mentioned  by  name:  {s)almone,  astor, 
bertuccia,  faina,  gatto  mammone,  lione,  muggin,  pantera,  pesce 
cane,  scoiatto,  sparvier,  spinoso,  storione.  This  mere  cataloguing 
of  names  is  characteristic  of  this  as  well  as  of  other  parts  of 
Pulci's  work,  especially  of  the  third  padiglione  episode.  These 
long  lists  of  names  detract  from  the  literary  value  of  the  poem, 
but  they  are  interesting  for  the  study  of  sources. 

A  second  gToup  comprises  those  animals  of  the  Morgante 
described  by  appearance,  actions  or  other  well-known  traits: 

(xiv^  77)  La  cammfiella 

Che  con  lo  scrigno  mansueta  e  doma 

Lasciava  ginocchion  porsi  la  soma. 
(78)  Molto  sentacchio  pareva  il  cinghiale. 
(78)   Evvi  il  coniglio,  e  scherza  a  suo  piacere. 
(80)  E'l  pulito  ermellino 

Che  parea  tutto  bianco  e  puro  e  netto. 

*0.  has  pesce  Colombo,  dentisso,  unghio  marino,  passera,  viughone,  which 
do  not  appear  in  the  Morgante;  the  Padilion  del  Re  Fierabraccia  has 
thosori,  bracchi,  seguci,  presa. 


10  Luigi  Pulci  and  the  Animal  Kingdom 

(73)  II  liofante  parea  molto  grande 
Calloso  e  nero  e  dinanzi  d'lm  pezzo, 
E  come  quegii  orecchi  larghi  spande, 
E  stende  il  grifo  lungo,  cb'egli  ha  vezzo 
Pigliar  con  esso  tutte  le  vivande. 

E  nol  potea  toccar  se  non  iin  ghezzo ;  ^ 
Fuor  dell  a  booca  gli  iiscivan  due  zanne, 
Ch'eron  d'avorio,  e  lunghe  ben  sei  spanne. 

(79)  Evvi  la  lontra,  e  va  cercando  il  pesce, 
Ed  or  sott'acqua  ed  or  sopra  riesce. 

(81)   La  lonza  maculata.^^ 

(76)   E'l  lupo  fuor  del  bosco  svergognato 

Gridato  dalla  gente  e  da'  can  morso. 
(76)   Tiitto  bizzarro  e  pien  di  furia  I'orso. 
(78)   Quivi  era  il  tasso  porco  e'l  tasso  cane,^^ 

Che  si  dormien  per  le  lor  biiche  o  tane. 
(67)   E  tonni  si  vedien  pigliare  a  sehiere. 

(80)  Eravi  il  vaio^  e  stavasi  soletto. 
(78)   La  volpe  maliziosa  era  a  vedere. 

A  third  group  contains  animals  in  describing  which  Pulci 
refers  to  characteristics  not  contained  in  O. 

(64)   Quivi  si  vede  scoprir  la  halena, 
E  far  talvolta  navili  affondare. 

(74)  Evvi  il  caval  famoso  sanza  freno. 

This  may  be  the  wild  horse  of  xiii^  51,  which  is  mentioned  as 
sfrenato  and  which,  after  having  killed  Gisberto,  son  of  King 
Marsilio,  is  tamed  by  Rinaldo.  A  similar  tale  is  found  in 
Uggieri  il  Danese  ^~  where  Orlando  tames  a  wild  horse  for 
Corbante. 


*A  black  man;  an  Oriental  or  African,  native  of  its  habitat. 
"€f.  Inferno,  I,  31-33. 

"Two  varieties  of  the  same  species:  the  Tramater  Dictionary  says  "e  il 
tasso  porco  ^  buon  a  mangiare." 

"v.  Rajna,  Rom.  iv,  425;  Hiibscher,  Orlando,  If  98,  end. 


Luigi  Pulci  and  the  Animal  Kingdom  11 

(76)   E'l  cervio  che'l  pastor  ehe  canta  aspetta 
Infin  che  I'altro  intanto  lo  sactta. 

Reinsch  ^^  says:  "  Der  Hirsch  in  Wirkliehkeit  Mnsik  migemein 
liebt  iind  dem  Klange  einer  Flote  odor  eincs  Waldhorns 
aiifmerksam  hordiend  nachfolgi."  This  trait  is  pictured  in 
the  French  translation  of  the  Orus  Apollo^  a  curious  work 
purporting  to  give  the  interpretation  of  Egyptian  hieroglyphics, 
where  the  stag  is  shown  listening  to  the  music  made  by  its 
pursuers  while  preparing  to  kill  it.  It  also  occurs  in  the 
bestiaries  of  Guillaume  le  Clerc  and  Hugo  de  St.  Victor. 

(G4)   II  delfin  v'e  che  mostrava  la  schiena, 
E  par  ch'a'  marinai  con  questo  insegni. 

Sermolli,  Ed.  Morgante,  p.  300,  note  64,  points  out  that  this  is 
an  imitation  of  Inferno  xxii^  19-21.  Cf.  Tes.  p.  110,  "  E  cog-nos- 
cono  lo  mal  tempo  quando  dee  essere.  E  quaudo  i  marinari 
veggiono  cio,  si  si  anteveggiono  della  fortuna." 

(81)   E'l  drago  ch'avea  morto  il  liofante 
E  nel  cadergli  addosso  quella  fera 
Aveva  ucciso  lui,  come  ignorante, 
Ohe  del  futuro  accorto  gia  non  s'era. 

The  unconscious  revenge  of  the  elephant  in  falling  on  the 
dragon  and  killing  it  is  told  by  Cecco  d'Ascoli,^"^  De  Dracone 
and  in  the  Allegorie  of  Leonardo  da  Vinci  ^^  No.  47,  Drago, 

and  'No.  57,  Leo f ante. 

(75)   II  leopardo  pareva  sdegnato 

Perch'e'  non  prese  in  tre  salti  la  preda. 

The  leopard  is  found  in  few  bestiaries :  the  Best.  Tosc.  mentions 
this  characteristic,  but  in  describing  the  lonza   (No.   74)  ;  ^"^ 

"  Le  Bestiaire  Divin  des  Guillaume  le  Clerc:  Altfr.  Bibl.  xiv,  136. 
^*  Aceria,  ed.  Rosario,  Lib.  iii,  cap  32. 
^^  Edited  in  Frammenti  lettcrari  e  filisopci  by  E.  Solmi. 
"G-McK.,  p.  97,  and  McKenzie,  The  Problem  of  the  Lonza,  p.  24. 

2 


12  Luigi  Pulci  and  the  Animal  Kingdom 

the  Acerha,  No.  40,  and  the  Lihro  de  li  Exempli'^'^  also  have 
copied  this  trait  from  the  Latin  bestiaries.^^ 

(75)   E'l  liocorno  e  in  grembo  addormentato 
D'lma  fanciiilla,  e  par  ch'egli  conceda 
Esser  da  qiiesta  tocco  e  pettinato; 
Ma  non  si  fidi  all'acqua  e  non  gli  creda 
Se  non  vi  mette  il  corno  prima  drento, 
E  se  quel  suda  sta  a  vedere  attento. 

This  method  of  taking  the  unicorn  is  found  in  most  of  the 
bestiaries:  Best.  Tosc.  No.  20:  Tes.  p.  266:  Leon.  No.  26  and 
others.  The  second  trait  is  unknown  to  bestiary  literature. 
There  are  two  similar  passages  in  the  poems  of  two  of  Pulci's 
contemporaries,  one  in  his  brother  Luca's  Driadeo  d'Amore 
and  the  other  in  the  Selve  d' Amove  of  his  patron  Lorenzo.  In 
the  Driadeo  (iv,  56  ff.)  Diana  turns  Severe  into  a  unicorn: 
after  the  transformation  his  first  act  is  to  run  to  the  water  to 
look  at  himself.  Later,  pierced  by  an  arrow  shot  by  the  lady 
he  has  loved,  he  is  turned  into  a  river.  Lorenzo's  two  lines  are 
much  nearer  the  Pulci  version;  they  are  as  follows: 

Ne  gli  animali  al  fonte  han  pazienza 
Che'l  liocorno  facci  la  credenza.^^ 

Their  source  for  the  story  is  obscure. 

(52)   Quivi  si  pasce  di  sogni  il  moscardo 

Perch'e'  non  e  come  il  fratel  gagliardo. 

(81)   Evvi  il  serpente  superlo,  arrogante, 

iChe  fiammeggiava  fuoco  per  la  bocca, 
E  col  suo  fiato  attosca  cio  che  tocca. 

The  Serbian  Bestiary  (Rein.  p.  178),  under  Aspida,  describes 
this  snake  as  belching  fire  when  pursued."*^ 

"  Ed.  Ulrich,  No.  23. 

"  V.  G-W.,  p.  203,  note.   Bartholomeiis  Anglicus,  De  Prop.  Rerum. 

"v.  Selve  d'Amore  in  Poemi,  p.  37. 

"v.  Tes.  p.  137;  Leon.,  Allegoric  nos.  10,  74. 


Luigi  Pulci  and  the  Animal  Kingdom  13 

(64)   E  dolcemente  cantar  la  sirena 

Che  i  naviganti  ha  fatti  addonnentare. 

Tes.,  p.  115,  "  Facevano  perire  le  nave":  Leon.,  No.  13, 
"  Addormenta  i  marinari":  Best.  Tosc,  Xo.  16,  "  Odendo 
I'omo  questa  voce  si  si  adormenta,  e  quando  ella  lo  vede  ador- 
mentato  si  li  vieni  sopra  e  uccidelo."  Fiore  di  Virtu,  xiv, 
"  Fa  addorraentare  le  persone  che  I'odono  " :  St.  (in  the  serpent 
group) :  Acerha,  25. 

The  rest  of  the  creatures  depicted  on  the  walls  of  the 
padiglione  are  as  follows:  (merely  named)  ahuzzago;  the  1878 
edition  of  the  Morgante,  p.  132,  gives  this  as  the  equivalent  of 
hozzago,  hozzagro,  "  specie  di  f  alco  "  -^ ;  acceggia;  here,  as  in 
the  case  of  a  multitude  of  other  birds  and  animals,  it  may  be 
assumed  that  Pulci's  knowledge  and  practice  of  hunting  made 
him  familiar  with  the  commoner  sorts  of  game :  ^^  alloco, 
anguilla,  anitrella,  anitra  hianca,  asinello,  assiuolo,  avelia, 
hdbhuino,  halestruccio,  harattola,  harbagianni,  harhio,  hevero, 
hiscia;  this  species  of  snake  is  mentioned  in  three  other  places 
in  the  Morgante:  y,  59 — "  E'l  brando  striscia  Che  lo  facea 
fischiar  com'  una  hiscia  " :  xxi^  76 — "  Poi  si  distende  come 
serpe  o  hisce " :  xxii,  134 — "  Fuggitevi,  ranocchi,  ecco  la 
hiscia  "  -^ :  in  the  Bestiario  Toscano  it  appears  in  several  mss.^* 
Hoare's  Dictionary  gives  it  as  a  common  name  for  snake 
in  several  idioms,  as  a  hiscia — zigzag:  boncio  the  Camerini 
edition  defines  as  "  sorta  di  pesce  d'acqua  dolce  " :  hottaccio, 
hravieri,  calandra,  calcinello,  calderino,  cameleone,  camoscio, 
capinero,  capitorza — an  obsolete  name  for  the  wryneck  (torci- 
collo)^^ :  capi'etta,  carpione,  cerastra,  cheppia,  cicigna,  cicogna, 
civetta,  codilungo,  codirosso,  cornioletto — Hoare  "  probably  the 
same  as  crognolo,  a  fish  resembling  a  sardine":  corvallo,  don- 

^^  Hoare,  Diet.,  poiana — buzzard. 

-^Lorenzo  de'  Medici,  Pocnii,  p.  121,  La  Caccia  col  Falcone. 

"Cf.  Inf.,  IX,  76;  Purg.,  vm,  98. 

=^v.  G-McK.,  pp.  13,  65;  G-W.,  p.  85. 

*'  V.  Florio,  Diet. 


14  Luigi  Pulci  and  the  Animal  Kingdom 

noletta,  dromedario,  fagiano,  fanello,  farciglione — Hoare  "prob- 
ably farcetold"  {harattolai — ^teal) :  fatappio — ^thiis  bird  was 
evidently  well  known  as  most  of  the  dictionaries  give  it  with 
the  derived  meaning  of  "  foolish  or  credulous  person  " :  Florio 
"  a  kind  of  night-flying  bird "  and  Acad,  delta  Crusca 
"  uccellieto  "  are  the  only  indications  as  to  its  nature :  frusone, 
gamhero,  garzetto — young  heron,  from  garza  (airone — Hoare) : 
gazza,  germano,  gricchione — ^given  in  the  dictionaries  as  some 
sort  of  aquatic  bird ;  Tramater  suggests  graccio  and  adds  "  I 
Franc,  chiaman  crich  una  specie  di  pappagallo  " :  grifone,  gufo, 
lampreda,  lasca,  ligusta — this  species  of  lobster  is  pictured  in 
the  Orus  Apollo  with  a  polyp  "  Pour  signifier  Ihomme  seig- 
neurant  sur  sa  nation  ils  paignoient  une  langoust  de  mer  et  ung 
poulpe  .  .  J'-^luccio,  lucherino,  lul,  niartora,  merla,  merla  ac- 
quaiola — water-ousel,  montanello,  morena  (lampreda), moscado, 
m,uso,  nicchio,  niteragno — the  nicticorax  of  the  Greek  Physiolo- 
gus,-^  a  nocturnal  bird  which  feeds  upon  filth  and  loves  dark- 
ness: "'^  occhiata,  orata,  ortolano,  pagolino,  pesce  rondin,  pesce 
perso — perch,  pettirosso,  pincione  (spincione),  piomhino,  pispo- 
la,  piizzola,  raggiata  {occhiata),  ragno — bass,  ramarro,  romho, 
rondone,  sardella,  sassello_,  scarza — Orus  Apollo  "  Quant  ilz 
voulloiet  signifier  ung  home  gourmant  ilz  paignoiet  ung  poisson 
appelle  Scarus  en  latin  pource  que  ce  poisson  seul  de  tous  les 
autres  reune  comme  les  beufz  et  moutons  et  deuors  tous  les 
petitz  ql  pent  predre "  the  parrot-fish :  sepaiuola,  seppia, 
sgombero,  soglia,  tinea,  tordella,  {marm)tordo — grottaione, 
bee-eater  (Hoare),  iriglia,  trota,  uccel  santamMna(piomhino) , 
zibhetto,  zihellvno,  zigolo. 
Described  by  characteristics: 

(57)  Alcioni  Che  fanno  al  mar  sentir  lor  nidi  e  canti. 

(48)   Aghiron,  v.  falcone,  p.  22. 

(56)   Quivi  col  gozzo  ....  Vanitroccolo 

(51)   E  gira  I'avoUoio. 

^  V.  Lauchert,  Geschichtc  des  Physiologus,  p.  9. 

*'In   the   Best.    Tosc,   Philippe  de   Thaiin,   and   Guillaume   le   Clerc;    v. 
G-W.,  p.  86. 


Luigi  Pulci  and  the  Animal  Kingdom  15 

(59)   E'l  heccafico  vero; 
Since  this  is  a  very  well-known  bird  it  is  evident  that  vero  is 
simply  a  needed  rhyme-word. 

(74)   E'l  hue  si  mansiieto. 

(77)  E'l  hiifol  che  ne  va  preso  pel  naso. 
(59)   E'l  calenzuol  dorato. 

(78)  E'l  can  pareva  fedele  e  leale. 

(7G)   Quivi  era  il  cavriuol  che  molto  ha  corso 

E  poi  s'e  posto  a  ber  tiitto  affannato. 
(78)   Poi  si  vedeva  la  damma  e'l  cerviere, 

Che  drieto  al  monte  scorgea  I'animale. 
(84)   La  cientro  colla  faccia  orrida  e  scura. 

The  Camerini  edition  notes  "  forse  cencro  " ;  "^  cf.  Dante,  Inf. 
xxiv^  87 ;  Pulci  has  the  other  serpents  named  in  this  passage 
also:  Che  se  clielidri,  iaculi  e  faree  Produce,  e  cencri  con  am- 
fisibena. 

(59)   Insino  al  re  delle  siepe  piccino, 

La  cingallegra. 
(48)    Colomba,  v.  falcone,  p.  22. 
(54)   E'l  corho  come  gia  delFarca  usciva. 
(54)   La  cornaccliia 

Che  garre  drieto  agli  altri  uccelli  e  gracchia. 
(52)   E  la  cutretta  la  coda  menando. 

(78)  Damma,  v.  cerviere,  above. 

(84)   E  la  farea  crude!  che  per  Libia  erra; 
V.  cientro,  p.  16 ;  "  snake  that  marches  on  its  tail  "  (Hoare). 
(56)   La  gallineJla  con  variate  piume. 

(79)  E  sopra  il  bucolin  del  topo  il  gaito 
Con  molta  pazienza,  come  astnto, 
Tanto  che  netto  riuscissi  il  tratto. 

(52)   E  la  gazza  marina-^  vien  gridando 

^  Dis.  della  Crusca:  "  Cencro,  specie  di  serpente  velenoso,  che  ha  la  pelle 
picchietata  come  di  tanti  grani  di  miglio." 

^ Ghiandma  marina — roller  (Hoare)  ;  a  different  species  from  both  gazza 
and  ghiayidaia. 


16  Luigi  Pulci  and  the  Animal  Kingdom 

E  scende  in  basso  con  molta  tempesta. 

(51)  E'l  gheppio  molto  del  vento  par  vago. 

(52)  E  la  ghiandaia  va  facendo  festa. 
(79)   E'l  ghir  sonnolente  e  perduto. 

(50)  Quivi  si  vede  i  gru  volare  a  schiera 
E  quel  che  va  dinanzi  par  clie  gridi. 

(84)   E  iacul  tanto  nel  corso  veloce: 
V.  cientro,  p.  15 ;  Leon.  jSTo,  78,  "  Questa  sta  sopra  le  piante,  e 
si  lancia  come  dardo,  e  passa  attraverso  le  fiere  e  I'uccide. 

(83)  »Con  sette  capi  I'idra; 
The  Best.  Tosc.  (under  calcatrice)  speaks  of  a  serpent  (not 
named)  witli  two  heads  according  to  some  of  the  mss.^  "  molte 
teste  "  according  to  others,  which  enters  the  mouth  of  the  cal- 
catrice. This  is  really  a  confusion  of  the  idra  and  idrus  stories, 
as  also  in  Richard  de  Eournival,  Wold,  etc.^*' 

(79)  L'istrice  pennuto. 

(80)  E  molto  bello  e  candido  il  lattizio. 
(77)   La  lepre  paurosa  e  meschinella 

Par  che  si  fugga,  temendo  ogni  caso. 
(49)   Quivi  e  la  lodoletta  a  volteggiare 

E  drieto  il  suo  nimico  che  I'ammazza. 

The  nimico  is  possibly  the  sparviere  or  the  falcone. 

(58)  E  il  lusigniwl  c'ha  si  dolce  la  gola. 
(55)  E'l  maragon  calarsi, 

Parea  che  in  giii  volassin,  per  tuff ar si. 
(52)   Ed  anco  il  milion  si  va  aggirando. 

Milvio—kite.^^ 

(59)  II  monaco  ch'e  tutto  rosso  e  nero. 

(51)  Mosca,  V.  nihhio,  p.  17. 

(74)   E'l  mul  che  tutto  par  di  vizj  pieno. 
(54)   Le  mulacchie  un  tumulto  in  aria  fanno. 

30  V.  G-McK.,  No.  26;  G-W.,  pp.  353-5;  Lauchert:  Geschichte  des  Phys., 

p.  25. 

^  V.  Florio,  Diet. 


Luigi  Pulci  and  the  Animal  Kingdom  17 

(51)   E'l  nihhio  si  vagheggia  a  siio  diletto 
Ad  ogni  mosca  chiudendo  gli  artigli. 

(50)   E  I'oche  ban  fatto  a  la  fila  bandiera 

E  come  questi  (i  gTu)  par  che  I'una  giiidi. 

(55)  Uoca  marina  che  '1  mar  passa. 

Ocione,  which  is  also  iu  this  stanza,  is  a  large  species  of  goose.^^ 

(54)  La  passer  v'e  maliziosa  e  cattiva 
E  par  sol  si  diletti  di  far  danno. 

This  bird  appears  again  in  Stanza  60: 

Poi  in  altra  parte  si  vedea  soletta 
La  passer  a  pensosa  e  solitaria 
Che  sol  con  seco  starsi  si  diletta, 
A  tiitte  I'altre  nature  contraria.^^ 

The  passer  of  O.  xxviii,  14,  is  a  fish. 

(55)  Quivi  superbo  si  mostra  il  pagone 

E  grida  come  gli  occhi  in  terra  abbassa. 

The  Best,  Tosc.  has  "  et  da  che  ave  vanagloriato  cosi,  elli  si  mira 
li  piedi  che  sono  molto  laidi,  inmantenenti  abassa  la  coda  e 
torna  a  nyente  veggiendo  li  piedi  tanto  sono  laidi."  Tes. 
"  molto  ha  a  dispetto  la  laidezza  de'  suoi  piedi."  The  Greek 
Physiologus  mentions  the  cry  the  peacock  utters  on  seeing  its 
ugly  feet.^^ 

(77)  E'l  umil  pecorella 

Oh'  avea  le  poppe  munte  e'l  dosso  raso. 

(48)  Pernice,  v.  terzuolo,  p.  18. 

(65)   E'l  pesce  rondiyi  si  vedea  volare, 
Ma  il  pesce  tordo  cosi  non  facia. 

The  flying-fish  and  the  wrasse,  placed  together  because  both 
named  after  birds. 

^  Tramater,  Diz. 

^  Tramater,  Diz.  s.  v.  passcro  soUtario. 

^  V.  Lauchert,  Gesch.,  p.  39 :  Kressner,  p.  276. 


18  Luigi  Pulci  and  the  Animal  Kingdom 

(61)   II  pipistrello  faceva  stran  volo. 
(G6)   E'l  2^o7po  colle  membra  cosi  strane. 
(76)   E'l  porco  che  nel  fango  e  imbrodolato. 

(55)  Quivi  la  quaglia  che  pareva  lassa 
Volando  d'una  in  altra  regione.^^ 

(58)   II  raperugiol  che  mai  intender  posso. 

Raperino — green   canary    (Hoare),     Pulci   apparently  had   a 
dislike  for  the  shrill  voice  of  this  bird. 

(49)  Eondine,  v.  smeriglio,  below. 

{%Q)  Lo  Scorpio  colle  punte  aspre  e  villane. 

(83)  La  serpe  si  vedea  prudente  e  mastra 
Tra  sasso  e  sasso  della  scoglia  uscire. 

(49)   E  lo  smeriglio  si  vede  sqnillare 

Di  cielo  in  terra,  e  la  rondine  ha  innanzi 
E  par  che  I'nno  all'  altro  poco  avanzi. 

Equivalent  to  smerlo  (Hoare). 

(51)  Evvi  lo  starno  e  la  starna  in  sospetto 
Ch'  ogni  uccel  che  la  vede  non  la  pigli. 

(56)  Col  gran  becco  agnzzo  .  .  .  lo  struzzo. 

(84)  L'ultima  cosa  e  la  talpa  sotterra. 
(48)  E'l  terzuolo 

Che  drieto  alia  pernice  studia  il  volo. 

(52)  E  rizza  Vupupa  la  cresta. 

Tes.,  p.  188,  and  Isidore  of  Seville  mention  the  crest  of  the 
hoopoe. 

A  group  of  animals  which  need  a  somewhat  more  extended 
consideration  follows : 

(68)  Alefe  finalmente  v'era  scorto 

E  come  sol  dell'  acqua  quel  si  pasca, 
E  tratto  f  uor  di  quella  parea  morto. 

"v.  Tes.,  p.  176. 


Luigi  Pulci  and  the  Animal  Kingdom  19 

It  is  evident  that  Pulci  took  this  description  from  the  "  four 
creatures"  of  the  bestiaries,  which  nourish  themselves  solely 
on  the  elements  in  which  they  live.  The  Best.  Tosc,  No.  18, 
gives  these  as  talpa  (earth),  "  uno  uccello  che  home  appella 
calameone"  (air),  ranocchio  (water),  and  "uno  uccello  che'l  suo 
nome  e  salamandra  (fire).  St.  has  I'aringha;  ^^  Cecco,  N^o.  7, 
alleeh;  Leon.  No.  40,  "  alepo  non  vive  fori  dell'  acqua.  Reinsch, 
p.  199,  translates  Leonardo's  alepo  as  Hdreng;  this  form  is  the 
nearest  to  Pulci's  alefe,  which,  like  the  alleeh  of  Cecco,  doubt- 
less means  the  same.  The  herring  as  the  creature  that  feeds 
on  or  lives  in  water  is  also  found  in  French  texts,  as  in  Guil- 
laume  le  Clerc  (ms,  Edgerton  613)^^  in  a  Latin  annotation  to 
the  chapter  on  the  salamander,  where  it  appears  as  alleeh. 
Pierre  le  Picard,^^  herens:  Richard  de  Fournival  (p.  20), 
Hierens:  Poeme  moralise/'^  liarenc.  The  Provengal  bestiary  *^ 
gives  eranh.^^ 

(47)  L'aquila  in  alto  con  sue  rote  andava 

Guardando  fiso  il  Sol,  com'  ella  e  avvezza, 
Tanto  che  il  Sol  le  penne  gli  abbruciava, 
E  rovinava  in  mar  giii  dell'  altezza ; 
Quivi  di  nuove  penne  s'adornava, 
E  riprendeva  poi  sua  giovinezza. 

Cecco  (No.  3)  omits  the  dipping  into  the  water.  Best.  Tosc. 
adds  the  detail  that  the  eagle  dips  itself  three  times,  and  calls 
the  water  into  which  it  falls  una  fontana;  ^^  Leon.,  No.  35,  gives 
the  story  up  to  the  fall  into  the  water:  Tes.,  p.  145,  gives  the 
entire  story  and  like  the  Best.  Tosc.  has  una  fontana.  Philippe 
de  Thaiin  locates  the  fountain  "  en  orient."  ^^  In  the  Rou- 
manian and  Serbian  bestiaries  the  eagle  first  bathes  itself  in 
the  water  and  then  flies  toward  the  sun.^^    Guillaume  gives  the 

»v.  G-W.,  p.  198,  note  1.  ''v.  Rein.,  p.  15. 

3s^.   G-W.,  p.  199,  note  1.  ^v.  Romania,  xiv,  471. 

^  Bartsch,  Chrest.  Prov.,  eol.  335. 

^  Cf.  Garver,  Rom.  Forsch.,  xxi,  pp.  299-309. 

«  G-MeK.,  p.  57 ;  G^W.,  p.  54. 

«p.  110.  •''v.  Rein.,  pp.  162,  176. 


20  Luigi  Pulci  arid  the  Animal  Kingdom 

story  in  its  entirety.^^  Nowhere,  apparently,  is  the  word  sea 
used  to  designate  the  water  into  which  the  eagle  plunges ;  Pulci 
has  changed  the  expression,  probably  for  metrical  reasons. 

(83)  L'aspido  sordo,  freddo  piu  che  lastra, 
Che  colla  coda  voleva  ferire. 

In  Dante,  Purgatorio,  ix,  5 : 

Poste  in  figure  del  freddo  animale 
Che  con  la  coda  percote  la  gente, 

the  animal  is  not  named  but  the  allusion  is  clearly  to  the  con- 
stellation Scorpio."*^  Leon.,  ISTo.  79,  gives  the  impression  that 
the  asp  is  very  acute  of  hearing:  "e  piu  lo  move  I'audito  che'l 
vedere."  He,  in  common  with  the  bestiaries  in  general,  has  the 
well-known  story  of  the  asp  stopping  its  ears  to^  escape  the 
enchantment  of  its  pursuer's  music. 

(82)   Poi  si  vedea  col  fero  sguardo  e  fischio 
Uccider  chi  il  guardava  il  hasalischio. 

Tes.,  p.  138,  "  e  col  suo  vedere  attosca  I'uomo  quando  lo  vede." 
Acerba,  No.  30 ;  Leon.,  No.  74,  "  col  fischio  caccia  ogni 
serpente." 

(65)   Vedeasi  il  cajicro  I'ostrica  ingannare, 
E  come  il  fuscelletto  in  bocca  avia, 
E  poi  che  quella  vedeva  allargare, 
E'  lo  metteva  nel  fesso  del  guscio, 
E  poi  v'entrava  a  mangiarla  per  I'uscio. 

This  story  occurs  in  the  Tesoro,  Delia  cochilla  (p.  109)  and  in 
Leonardo;  in  the  latter  it  is  described  as  occurring  at  the  full 
moon.'*'^ 

(74)   Vedevasi  il  castor  molto  discreto, 

'"v.  Eein.,  p.  250. 

*  Toynbee,  Concise  Dante  Dictionary,  s.  v.  scorpio. 

■"  This  chapter  is  missing  in  the  Solmi  edition;  v.  Rein.,  p.  200,  No.  49. 


Luigi  Pulci  and  the  Animal  Kingdom  21 

Che  de'  siioi  danni  eletto  aveva  il  meno, 
E  strappasi  le  membra  genitale, 
Veggendo  il  cacciator,  per  manco  male. 

This  action  of  the  beaver  is  told  in  most  of  the  bestiaries :  Tes., 
p.  223;  Leon.,  No.  5 ;  Best.  Tosc.  (G-W.  and  G-McK.,  No.  30), 
etc.  The  belief  probably  arose  from  the  fact  that  the  beaver 
was  hunted  for  the  sacs  containing  castoreum,  a  product  used 
in  medicine.^^ 

(56)   E'l  bianco  cigno,  che  dorme  in  sul  fiume, 
Parea  che  fussi  alia  morte  vicino, 
Pero  cantassi  come  e  suo  costume. 

Best  Tosc.  (G-McK.,  p.  27;  G-W.,  p.  37);  St.;  Tes.,  p.  181; 
Leon.,  ISTo.  42. 

(82)   E'l  coccodrillo  avea  I'uom  prima  morto, 
Poi  lo  piangeva,  pien  d'inganni  e  froda. 

Tes.,  p.  102;  Best.  Tosc.  (G-McK.,  p.  47;  G-W.,  p.  46)  calcha- 
trice;  Leon.,  No.  50.  St.,  No.  22,  and  Cecco,  No.  34,  have 
coccodrillo;  there  is  evidently  a  confusion  of  names  here.  The 
weeping  episode  is  also  told  in  Cecco.  Here,  as  in  other 
instances,  Pulci  agrees  with  Cecco  and  St.  In  the  third 
padiglione  he  mentions  the  calcatrice  (xxv^  324),  but  without 
giving  any  characteristics;  this  is  evidence  that,  in  his  time  at 
least,  the  two  were  no  longer  confused  and  that  the  cockatrice 
had  come  to  be  regarded  as  a  fabulous  beast.**^ 

(60)   Evvi  il  cuculio  con  sua  malizietta, 

Che  mette  I'uova  sue  drento  alia  buca 
Delia  sua  balia,  che  e  detta  curuca. 


*j 


The  cuckoo's  well-known  habit  of  laying  its  eggs  in  other  bird's 
nests  is  told  by  Brunette  (p.  202),  where  the  victimized  bird  is 

**v  Oxford  Dictionary,  s.  v.  castor,  I. 

■*"The  capitalization  of  the  name  tends  to  show  this:  nearly  all  the  names 
of  the  large  nnmher  of  fabulous  beasts  in  Padiglione  in  are  capitalized  in 
some  of  the  editions. 


22  Luigi  Pulci  and  the  Animal  Kingdom 

called  scerpafolea.^^  Hoare's  Dictionary  gives  scerpasolea — 
hedge-sparrow. 

(60)   Curuca,  v.  cuculio  above. 

(74)   Ewi  il  lione,  e'l  dippo  gli  va  drieto. 

Tramater,  Diz.,  dipo  "  Famiglia  o  genere  di  qiiadriipedi,  dell' 
ordine  de'  roditori  .  .  .  somigliante  a'  topi  ed  a'  gliiri,  ma 
differente  per  la  cortezza  delle  gambe  davanti  e  la  estrema 
lunghezza  di  quelli  di  dietro."  This  is  the  jerboa,  one  species 
of  which  bears  the  name  Dipus.^^  The  animal  is  unknown  to 
the  bestiaries.  It  is  possible  that  its  juxtaposition  with  the  lion 
is  a  reference  to  the  lion  and  mouse  fable:  Pulci  often  used 
unusual  names  for  his  creatures  and  here  the  dippo  might  stand 
for  the  tope  of  the  fable. ''^ 

(48)  Quivi  e  il  falcon  salvatico  e  quel  dome, 
E  I'un  par  che  i  colombi  molto  opprima, 
E  Faltro  fa  coll'  aghiron  giii  il  tomo. 

The  falcon  domo  (i.  e.,  domato — tamed)  harasses  the  colomhi, 
birds  more  or  less  domesticated  and  living  about  man's  dwelling, 
while  the  falcon  salvatico  preys  upon  the  aghiron,  a  wild  bird. 

(47)  E  la  nuova  fenice,  oome  suole, 
Portava  il  nido  alia  casa  del  sole. 

(48)  Ed  avea  tolto  incenso  e  mirra  prima, 
E  cassia  e  nardo,  e  balsamo,  ed  amomo, 
Ed  arsa,  e  poi  rinata  in  sulla  cima.^^ 

The  phoenix  story  is  common  to  most  of  the  bestiaries:  the 
detail  of  the  spices,  however,  while  present  in  the  Physiologus,^^ 
does  not  appear  in  the  Italian  bestiaries.     It  is  found,  strangely 

™ V.  Tes.,  1.  c,  note  1 ;  "La  Crusea  legge  scerpa^eolea."  Battelli's  ed.  of 
Brunotto  Latini,  p.  138,  reads  sterpasolca. 

^^  V.  Oxford  Diet.  s.  v.  Dipus. 

"^^  €f .  bevero  for  castor,  xiv,  79 :  Ussonte  for  lufol,  xxv,  90. 

"Cf.  Dante,  Inf.,  xxiv,  106-11,  where  the  spices  are  mentioned;  v.  also 
Holbrook.  Dante  and  the  Animal  Kingdom,  p.  309. 

'"''  V.  Laueliert,  Gesch.,  p.  10. 


Luigi  Pulci  and  the  Animal  Kingdom  23 

enough,  in  an  Italian  translation  of  the  Old  French  Bestiaire 
d' Amour,  the  original  of  which  does  not  treat  of  the  phoenix.''^ 
It  was  doubtless  derived  by  Pulci'  from  Dante,  "  Ma  sol  d'in- 
censo  lagrime  ed  amomo ;  E  nardo  e  mirra  son  I'ultime  fasce." 

(84)  lenna  vidiesi  della  sepultura 
Cavare  i  morti  rigida  e  feroce, 
La  qual  si  dici,  che  v'ha  posto  cura, 
■Ch'  ella  sa  contraffar  I'umana  voce. 

Both  of  these  characteristics  are  described  by  Brunetto,  Tes., 
p.  253.  They  are  also  found  in  St.  and  the  Acerha,  No.  41.^^ 
The  Libro  de  li  Exempli  ^''  has  the  second. 

(65)    Ostrica,  v.  cancro,  p.  20. 

(53)   E'l  pappagallo,  quel  ch'e  da  dovero 

E  il  verde,  e'l  rosso,  e'l  bigio,  e'l  bianco,  e'l  nero. 

The  expression  da  dovero  refers  to  line  3  of  the  same  stanza: 
Perch'e'  penso  ch'un  pappagallo  fosse.^^  The  green  parrot 
only  is  named  in  the  bestiaries,  no  doubt  because  it  was  the  one 
most  commonly  known.  Pulci  adds  the  others  from  his  own 
observation. 

(51)   Qui  si  cava  il  pellican  del  petto 

II  sang-ue,  e  rende  la  vita  a'  suoi  figli. 

Best  Tosc,  No.  29  (G-McK.,  p.  51 ;  G-W.,  p.  50)  :  Tes.,  p. 
191:  Leon.,  ISTo.  37.^*^  St.^^  There  are  numerous  variations 
in  the  bestiaries  cited ;  as  in  Leon,  it  is  the  snake  which  kills  the 
young',^^  the  male  pelican  in  Tes.:  in  the  latter  the  female  lets 
the  blood  fall  on  the  eyes  of  the  young.  They  all  have,  however, 
the  traits  given  by  Pulci. 

(53)   II  picchio  v'era,  e  va  volando  a  scosse, 
Che'l  compero  tre  lire  e  poco,  un  besso ; 

«v.  G-W.,  p.  413. 

^G-W.,  p.  183,  note  2;  also  185,  note. 

=^  Ed.  Ulrich  No.  27. 

^v.  picchio,  below.  ^*v.  Solmi  ed.,  p.  41. 

•"v.  G-'W.,  p.  87.  ^Morgante  xxvrr,  213. 


24  Luigi  Pulci  and  the  Animal  Kingdom 

Perch'e'  penso  ch'un  pappagallo  fosse, 
Mandollo  a  Corsignan,  poi  non  f  u  desso ; 
Tanto  che  Siena  ha  aneora  le  gote  rosse. 

This  passage,  as  Halfmann  has  pointed  out,^^  is  connected  with 

XXI,  49,     O  Astarot  che  nel  cavallo  stette, 

E  sotto  im  hesso  gitto  tante  gocciole: 
]^on  Oratas,  quel  che  i  pippion  ci  dette; 
Tanto  ben  par  che  sue  parole  snocciole. 

He  adds:  "  Ihre  Beziehungen  sind  mir  jedoch  unbekannt 
geblieben !  "  "  Va  volando  a  scosse  "  describes  the  character- 
istic flight  of  the  woodpecker.  The  reference  is  to  Pulci's 
Novella  di  un  Sanese.^^  The  story,  in  brief,  is  that  of  a  man 
of  Siena  who  bought  a  woodpecker  thinking  it  a  parrot  and 
presented  it  to  Pope  Pius  II.  "  Siena  still  blushes  at  his 
idiocy."  Besso  is  a  Florentine  word  of  contempt  used  especially 
in  referring  to  the  Sienese.®^  In  the  Novella  the  bird  is  not  a 
"  painted  magpie."  ®^ 

(53)   Quivi  e  il  rigogoletto,  e'l  fico  appresso. 

The  rigogoletto,  according  to  the  Tramater  Dictionary,  "  si 
pasci  volontieri  di  fichi,  ciriege  e  simili  frutti."  There  is  also 
a  popular  saying :  "  Pigliar  due  rigogole  a  un  fico."  ®^  Prob- 
ably both  these  ideas  were  in  Pulci's  mind  when  he  associated 
the  oriole  with  the  fig.^^ 

(45)   Quivi  e  la  salamandra  ancor  nel  fuoco, 
Che  si  godea  contenta  in  f  esta  e'n  giuoco. 

It  has  already  been  mentioned  ^^  that  the  salamander,  the  only 

*^  Die  Bilder  und  Vergleiche,  p.  19,  No.  58. 

*'  V.  Volpi's  edition  of  the  Morgante,  v.  il,  p.  18,  note.     The  Novella  was 
dedicated  to  Madonna  Hippolyta  Sforza. 
"  V.  Hoare,  Diet. 

"=  V.  Einstein,  p.  8.     €f .  Curto,  p.  42. 
""  V.  Tramater,  Dis;  a.  v.  fico  1,  No.  18. 
"'  The  same  expression  is  used  in  Cirijfo  Calvaneo,  v,  57. 
«'p.  10. 


Luigi  Pulci  and  the  Animal  Kingdom  25 

animal  appropriate  to  the  fire  division  of  the  padiglione,  is  not 
found  there  in  O.  Pulci  supplies  this  lack,  taking  his  informa- 
tion from  the  bestiaries.  Best.  Tosc,  No.  18 :  Delia  natura  di 
quatro  elementi,^^  "  E  I'altra  che  vive  pur  solamente  di  fuoco 
si  e  uno  uccello  che'l  suo  noma  e  salamandra  et  e  bianco  " : 
MS.  Pad.,  i^o.  13,  omits  the  statement  that  the  salamander  is  a 
bird.  Acerha,  N'o.  7  (Four  Elements) :  St."^^  classes  it  in  the 
serpent  group,  as  do  also  Brunetto  Latini,  Tes.,  p.  144,  and 
Leonardo,  No.  38.  Pulci's  detail  of  the  joy  of  the  animal  in 
the  fire  is  not  found  in  the  bestiaries,  but  occurs  in  a  sonnet  by 
Chiaro  Davanzati."^^  In  xxv,  89,  Marsilio  sends  Carlo  a  tissue 
(vel)  called  salamandra,  which  "  drento  al  foco  imbianca." 

(G9)   Scilla  abhaiar  si  sentia  crudelmente. 

This  is  the  monster  mentioned  in  the  Odyssey  (xii^  244)  and 
common  in  classical  mythology.  Pulci  has  a  number  of  classical 
references;  in  general  he  seems  quite  familiar  with  the  Greek 
and  Latin  writers  and  cites  their  subject-matter  correctly,  as 
here  the  "  barking  "  of  Scylla. 

(63)   Vedesi  il  carro  abbandonar  Fetonte, 
E'l  fero  Scorpio  mostrargli  I'artiglio, 
E  com'e'  par  che  in  basso  giii  dismonte, 
E  la  terra  apre  per  I'ardor  la  bocca, 
E  Giove  il  fulminava  dalla  rocca. 

Dante  refers  frequently  to  the  Phaeton  story, '^^  but  he  does  not 
mention  the  menacing  scorpion  described  by  Ovid  {Metamor- 
phoses, ii),^^  first  (line  82)  in  the  exhortation  of  Phoebus  to 
Phaeton  not  to  attempt  to  conduct  the  car  of  the  sun  and  again 
(line  195)  in  the  terrible  experience  of  Phaeton  after  he  has 
lost  control  of  the  horses : 

II,  82 :  Saevaque  circitu  curvantem  bracchia  longo 

Scorpion  atque  aliter  curvantem  bracchia  cancrum. 

"» G-McK.,  p.  38.  '» V.  G-W„  p.  29. 

"v.  Monaci,  Crestomazia,  p.  317. 

''^  For  list  of  references  v.  Toynbee,  Dante  Diet.,  s.  v.  Fetonte. 

"Ed.  Miller:  London,  1916:  vol.  i,  pp.  6G,  72. 


26  Luigi  Pulci  and  the  Animal  Kingdom 

195:  Est  locus,  in  geminos  ubi  bracchia  concavat  arcus 
Scorpius  et  cauda  flexisque  utrimque  lacertis 
Porrigit  in  spatiiim  sigTiorum  membra  duorum. 

(54)  'Gli  stornelletti  in  frotta  se  ne  vanno 
E  tiitti  quanti  in  becco  hanno  Fuliva. 

The  starling  does  not  appear  in  the  bestiaries.  It  is  probable 
that  Pulci  associated  it  with  the  olive  as  he  did  the  oriole  with 
the  fig — by  observation^"* 

(82)  E'l  til-  ch'avea  lo'ncantatore  scorto, 
Accio  che  le  parole  sue  non  oda, 
Aveva  I'uno  orecchio  in  terra  porto, 
E  I'altro  s'ha  turato  colla  coda. 

Here  is  assigned  to  the  snake  tiro  the  trait  given  to  the  aspido 
in  the  bestiaries.^^  It  will  be  remembered  that  Pulci  imitated 
Dante  in  describing  the  latter,  but  also  that  Dante's  description 
applied  to  the  scorpion.'^® 

(50)   Quivi  e  la  tortoletta  a  primavera, 

E  par  che  in  verdi  rami  non  s'annidi, 
Pill  non  s'allegri,  e  piu  non  s'acoo'mpagni, 
E  sol  neir  acqua  torbida  si  bagni. 

Best.  Tosc,  jSTo.  50,'^'''  turtura,  cites  these  actions  as  those  of  the 
female  in  mourning  for  the  death  of  her  mate:  ^'  ne  non  si  pone 
in  verde  ramo,  ne  non  heve  d'acqua  chiara."  Brunetto,  p.  196, 
has  the  same  description.    Acerha,  No,  23:  St:  Leon.,  Xo.  32.""^ 

(59)   E  uno  uccel  che  suol  heccare  il  fungo. 

There  is  no  indication  of  the  name  of  this  bird,  either  in  the 
Morgante  or  elsewhere. 

(83)  La  vipera  scoppiar  nel  partorire. 

'•*v.  riyogoletio,  p.  24.  '^v.  aspido,  p.  20. 

'•v.  G-W.,  p.  189.  "v.  G-<McK.,  p.  69. 

''v.  GAV.,  p.  431,  note  2  and   Cian  in  Arch.  Glott.  iv,  331,  who  quotes 
from  Sacchetti  "  non  si  bagna  in  acqua  chiara." 


Luigi  Pvlci  and  the  Animal  Kingdom  27 

Tes.,  p.  141;  Acerba,  No.  33;  Leon.,  jSTo.  48;  cf.  Holbrook, 
op.  cit.,  p.  332. 

The  third  padiglione  episode  is  introduced  in  Canto  xxv, 
307-332,  as  a  supplement  of  Padiglione  II,  under  the  following 
circumstances:  Rinaldo  and  the  demon  Astarotte,  journeying 
from  Egypt  to  Roncesvalles,  fall  to  talking,  on  the  way,  of 
Luciana  (306).  Rinaldo  tells  of  their  mutual  love  and 
describes  the  wonderful  tent  which  she  brought  him  and  which 
he  has  always  kept  out  of  love  for  her.  Astarotte  responds 
that,  with  his  sight  which  pierces  mountains  and  all  other 
obstacles,  he  can  see  it  plainly,  though  it  is  safely  stored  away 
at  home : 

(308)  Pero  che  al  nostro  veder  non  si  oppone 
O  monti  o  mura.''' 

Continuing  to  use  his  all-piercing  sight,  he  points  out  to 
Rinaldo  that  Luciana  has  omitted  many  important  creatures. 
Rinaldo  begs  him  to  name  them  so  that  he  may,  for  love  of 
Luciana,  add  them  to  the  padiglione,    Astarotte  then  begins : 

(311)  La  gran  Libia  mena 

Molti  animali  ineoffniti  alle  genti. 


^to-" 


As  in  Padiglione  II,  in  the  third  group  there  is  much  mere 
catalog-uing  of  names,  but  a  greater  number  of  the  creatures 
are  fabulous  and  some  of  them  are  described  at  some  length. 
Additional  attention  is  called  to  these  fabulous  creatures  by  the 
capitalization  of  their  names  in  some  of  the  editions.  Some  of 
the  creatures  of  Padiglione  II  reappear,  either  by  themselves 
or  in  the  description  of  other  animals.  In  Padiglione  II  it  was 
noted  that  only  the  more  commonly  known  fictitious  creatures 
appeared,  such  as  the  phoenix,  siren  and  gryphon.  The  third 
padiglione  episode,  however,  contains  many  which  are  unknown 
to  the  bestiaries  and  for  which  a  source  or  sources  must  be 

'» Cf.  lynx,  Tes.,  p.  257,  etc. 

3 


28  Luigi  Pulci  and  the  Animal  Kingdom 

sought  elsewhere.^^  In  treating  of  these  creatures  the  order 
will  be  alphabetical,  without  attempt  to  arrange  them  in  groups 
such  as  were  used  in  discussing  Padiglione  II. 

(328)  Aghiron,  v.  ardea,  p.  29,  and  falcon,  p.  22. 
(326)  Agotile,  appellate  caprimulgo 

Poppa  le  capre  si  che  il  latte  secca. 

This  bird  is  also  called  nottolone  (Hoare) ;  all  these  names  are 
apparently  at  least  known  to  the  Italian  language  today. 

(319)   Altri  animali  appellati  sono  Alci, 

Caval  silvestri,  e  traggon  di  gran  calci. 

Leon.,  l^Q.  61:  Macli,  "ha  forma  di  gran  cavallo";  in  a  note 
to  the  title,  Solmi  cites  Pliny,  cervus  alces.  The  "  gran  calci '' 
may  have  some  connection  with  the  continuation  of  the  macli 
story.^^     Alee  is  the  modern  name  for  the  elk. 

(324)  AUinanite,  v.  p.  39. 

(329)  Andrio,  v.  p.  39. 

(311)  Alcun  si  dice  Anfisibena; 

E  innanzi  e  indietro  van  questi  serpenti, 
iChe  in  mezzo  di  due  capi  hanno  la  schiena. 

Tes.,  p.  136;  Dante,  Inferno,  xkiv,  87;  Leon.,  No.  72. 

(322)  E  molti  angue, 

Che  pur  Medusa  non  creo  col  sangue. 

In  Ovid's  Metamorphoses  {iv,  line  789)  the  creatures  born 
from  the  blood  of  the  Medusa  are  the  winged  horse,  Pegasus, 
and  his  brother: 

'"Although  the  Spagna  served  as  a  model  for  the  last  five  cantos  of  the 
Morgante  (cf.  E,ajna,  La  Rotta  di  Roncisvalle,  Propugnatore  iv),  it  is 
probahle  that  this  padiglione  episode,  since  it  is  a  continuation  of  Padig- 
lione II,  came  from  Pulci's  own  fancy  rather  than  from  his  original.  The 
Spagna  was  not  available  for  this  study;  the  first  canto,  published  by  A, 
Thomas  in  Romania  xiv,  p.  207,  contains  only  the  most  casual  references 
to  animals  such  as  are  found  in  all  the  Romances  of  Chivalry. 

^\.  Macli,  p.  36. 


Luigi  Pulci  and  the  Animal  Kingdom,  29 

Pegason  et  fratrem  matris  de  sangue  natos. 
(324)   Arache,  v.  p.  39. 

Arhatraffa,  v.  p.  39. 

(328)  Ed  Ardea  quasi  I'aghiron  simiglia, 

Tes.,  p.  163. 

(324)  Armene,  v.  p.  39. 
Arunduco,  v.  p.  39. 

(329)  Asino,  v.  Atilon,  below. 
(315)  Aspido,  V.  Icneumone,  p.  34. 
(313)  E  Assi  un'altra  fera  e  nominata, 

Molto  crudel,  di  bianco  indanaiata. 

Florio,  Diet.    "A  kind  of  hissing  serpent." 

(324)  Assordio,  v.  p.  39. 

(329)  E  Atilon,  che  gridando  s'indraca 

Drieto  alia  volpe,  se  I'asino  vede, 

Amico  il  segue,  e  oon  esso  si  placa. 

The  Orus  Apollo  describes  a  bird  which  flees  from  the  horse: 
"  ling  oyseau  appelle  Otide — ledict  oyseau  senvole  incontinet 
qu'il  veoit  le  cheual."  There  is  no  mention  of  the  fox  or  of 
any  other  animal. 

(323)  E  molti  nomi  stran  di  hasilischi 

Si  trnova  ancor  con  vari  effetti  e  fischi. 

The  following  stanza  contains  the  names: 

(324)  Dracopopode,  Armene  e  Calcatrice, 
Irundo,  Assordio,  Arache,  Altinanite, 
Centupede  e  Cornude  e  Eimatrice, 
IsTaderos  molto  e  solitario  immite, 
Beruse  e  Boa  e  Passer  e  JSTatrice, 
Che  Luciana  non  avea  sentite, 

E  Andrio,  Edisimon  e  Arhatraffa, 
E  non  si  ricordo  della  Giraffa. 
(319)  Becco,  v.  tragelafo,  p.  39. 


30  Luigi  Pulci  and  the  Animal  Kingdom 

(324)  Beruse,  v.  p.  39. 

(320)   Poi  son  Bissonti,  buoi  silvestri  ancora, 

Che  nascon  molto  in  Scitia  e  in  Germania. 

Leon.,  No.  6'2,  bonaso,  whicli  the  editor  gives  as  the  same  as 
bisonte:  Fiore  di  Virtu,  Ko.  16,  hue  salvatico.  Pulci  gives 
none  of  the  traits  cited  by  either. 

(329)  Bistarda  e  gi*ave;  e  dir  non  ne  bisogna, 
Che,  come  vil,  si  pasce  di  carogna. 

There  is  no  doubt  that  this  is  the  great  bustard,  ottwrda  in 
modern  Italian ;  the  name  underwent  the  same  change  of  prefix 
in  French:  bistarde — outarde.^^  Grave  describes  correctly  the 
solemn  appearance  of  the  bustard,  but  Pulci  has  wrongly 
attributed  to  it  the  habit  of  feeding  on  carrion,  possibly  through 
a  slight  similarity  of  its  name  to  that  of  the  buzzard — bozzagro. 

(324)  Boa.     Leon,,  No.  70,  describes  the  boa. 
(320)   E  un  serpente  che  si  chiama  Bora. 

The  Tramater  Dictionary,  citing  this  line,  suggests  an  ety- 
mology: "  In  gr.  boros  o  boreos  e  lo  stesso  che  vorace." 

(323)  Caferaco,  v.  p.  39. 

(330)  Non  so  se  del  Calandro  udito  hai  dire, 
II  qual,  posto  all'  infermo  per  obbietto. 
Si  volge  indrieto  se  quel  dee  morire; 
Cosi  al  contrario  pel  oontrario  effetto. 

Best.  Tosc,  No.  15,*^  calandru^go;  Tes.,  p.  171;  Acerba,  No. 
17 ;  Leon.,  No.  1 ;  Fiore  di  Virtu,  No.  1.^^ 

(324)  Calcatricej  common  to  most  of  the  bestiaries;   v. 
coccodrillo,  p.  21. 

(312)   E  Callirafio  il  dosso  ha  maculate. 

**  V.  Godefroy,  Diet. 

*3G-McK.,  p.  36;  G-W.,  pp.  27,  87,  293, 

**  cf.  McKenzie,  Per  la  storia  dei  Best,  ital.,  p.  364. 


Luigi  Pulci  and  the  Animal  Kingdom  31 

In  Ciriffo  Calvaneo,  iv,  25,  Luca  Pulci  mentions  the  callirafio 
as  the  offspring  of  the  wolf  and  the  dog:  Luigi,  in  the  line 
following  the  one  cited  above,  assigns  'the  same  origin  to  the 
crocuta,  q.  v.,  p.  33. 

(312)   Can,  v.  crocuta,  p.  33. 
(326)   Capra,  v.  a^otile,  p.  28. 
(326)   Capriinulgo,  v.  agotile,  p.  28. 
(328)   Carita  vola  e  parra  maraviglia, 

Per  mezzo  il  foco,  e  non  incende  questa. 

V.  p.  40. 

(314)   E  un  serpente  e  detto  Catohlepa, 

Che  va  col  capo  in  terra  e  colla  bocca 
Per  sua  pigrizia,  e  par  col  corpo  repa ; 
Secca  le  biade,  e  I'erbe,  e  cio  che  tocca, 
Tal  che  col  fiato  il  sasso  scoppia  e  crepa, 
Tanto  caldo  velen  da  questo  fiocca ; 
Col  guardo  uccide  periglioso  e  fello, 
Ma  poi  la  donnoletta  uccide  quello. 

Leon.,  No.  63,  catopleas,  gives  the  substance  of  Pulci's  descrip- 
tion, omitting  the  statement  that  the  donnoletta  kills  it.  Tes., 
p.  218,  donnola;  "  e  odiala  il  topo  molto,  e  la  serpe."  Leon., 
No.  75,  donnola  over  hellola;  "  trovando  la  tana  del  basilisco 
.  .  .  I'occide."  Here  again,  stories  assigned  to  other  serpents 
in  the  bestiaries  are  mixed  with  those  belonging  under  a 
different  name. 

(316)   Cavallo,  v.  Eale,  p.  33,  and  Ippotamo,  p.  35. 

(321)  E  Cefi  sono  altri  animali  strani 
Che  nascon  nelle  parti  d'Etiopia, 
C'hanno  le  gambe  di  drieto  e  le  mani 
Dinanzi,  come  forma  umana  propia; 
Questi  vide  ne'  giuochi  Pompeani 
Prima  gia  Roma,  e  poi  non  ebbe  copia. 

Florio :  "  A  kind  of  ape  or  monkie."     This  appears  to  be  a 


32  Luigi  Pulci  and  the  Animal  Kingdom 

direct  paraphrase  of  Plinj,  Bk.  viii,  Ch.  xix :  "  Pompei  Magiii 
primum  ludi  ostenderunt  chama  quein  Galli  rufium  vocabant, 
effigie  lupi,  pardoriim  maculis :  iidem  ex  Ethiopia  quas  vocant 
Xv^^ov;  quariim  pedes  posteriores  pedibiis  humanis  et  cruribus, 
priores  manibus  fuere  similes.  Hoc  animal  postea  Roma  non 
vidit."    None  of  the  bestiaries  have  it. 

(324)  Centupede,  obs.  for  centogambe  (Hoare). 
(313)   Cervio,  v.  Leucrocuta,  p.  36. 

(323)   Poi  son  Chelidri  serpenti  famosi. 

Dante,  Inf.,  xxiv,  86.     Obs.  name  for  the  water-snake  (Hoare). 

(326)  E  CJiite,  uccello  ignorato  del  vulgo, 

La  madre  e'l  padre  in  senettute  imbecca. 

This  trait  is  assigned  to  the  upupa  by  some  of  the  bestiaries, 
e.  g.,  Acerha,  No.  16;  Fiore  di  Virtu;  .St.  etc.;  cf.  McKenzie, 
Per  la  Storia  dei  Bestiarii  Italiani,  p.  367. 

(325)  Cicogna,  v.  Ibis,  p.  34. 

(326)  Tin  altro  e  appellato  Cinamulgo, 

Del  qual  chi  mangia,  le  dita  si  lecea, 
E  non  ispari  il  ghiotto  questo  uccello 
Perche  di  spezierie  si  pasce  quello. 

St.  cinomolgo.^^  This  may  be  a  name  formed  on  an  analogy 
with  caprimulgo,  if  the  termination — mulgo — be  taken  in  the 
larger  sense  of  "  to  feed  upon."  There  is  an  Oriental  plant, 
smilax  china,  formerly  much  used  as  spezierie.  The  Italian 
has  also  the  form  cina.^^    Isidore,  xii^  Y-23. 

(316)   Cinghiale,  v.  Bale,  p.  33. 
(315)   Coccodrillo,  v.  Icneumone,  p.  34. 
(328)   Corho,  v.  Corete,  below. 
(328)   Ne  so  se  ancora  un  uccel  conoscete 
Nimico  al  corbo,  appellato  Corete. 

"  V.  GJW.,  p.  87. 

*•  V.  Dis.  della  Crusca,  s.  v.  cina. 


Luigi  Pulci  and  the  Animal  Kingdom  33 

There  is  a  possibility  of  confusion  of  stories  here.  Leon.,  !N'o. 
93,  corho,  has  "  Questo,  quando  ha  ucciso  il  camaleone,  si  purga 
coir  alloro."  Tes.,  p.  236,  camaleonte,  "  la  state  viene  im 
uccello  che  I'uccide,  che  ha  nome  Coras" 

(324)   Cornude,  same  as  cerasta — asp  (Hoare). 
(312)   E  Crocuta  e  di  lupo  e  di  can  nato. 

Tes,,  p.  253,  hyene,  "  giace  questa  hestia  con  la  lionessa,  ed 
ingenera  ima  bestia  che  ha  nome  cococie,  o  ver  corococte  "  (the 
Tresor  has  crocote  in  one  ms.).®'^  v.  Callirafico,  p.  30.  Pliny, 
viii^  21. 

(314)  Donnoletta,  v.  Catohlepa,  p.  31. 
(324)  Dracopopode,  v.  p.  39. 
(323)   E  non  pur  nota  una  spezie  di  draco. 
(329)   E  un  uccel,  che  di  state  si  vede 

Dopo  la  pioggia,  si  chiama  Driaca, 

Che  la  natura  creo  senza  piede. 
(316)   Un  altra  bestia,  che  si  chiama  Eale, 

La  coda  ha  d'elefante,  e  nero  e  giallo 

II  dosso  tutto,  e  dente  di  cinghiale, 

II  resto  e  quasi  forma  di  cavallo; 

E  ha  due  corni,  e  non  par  naturale, 

Che  puo  qual  vuole  a  sua  posta  piegallo ; 

Come  ogni  fera  talvolta  dirizza 

Gli  orecchi  e  piega  per  paura  o  stizza. 

St.,  No.  26.«8 

(323)  Edipsa:  The  editions  of  Venezia,  1784,  and  Milano, 
1806,  have  E  dipsa,  which  is  probably  the  correct  reading,  as 
the  dipsa  is  described  in  Solinus  and  Isidore  of  Seville.^^  It 
is  a  snake  whose  bite  causes  the  victim  to  die  of  thirst. 

(324)  Edisimon,  v.  p.  39. 

"  V.  G-W.,  p.  185. 

««v.  G-W.,  p.  188. 

«» Solinus,  p.  122:  Isidore,  xn,  4,  13.     Also  in  St;  v.  G-W.,  p.  87. 


34  Luigi  Pulci  and  the  Animal  Kingdom 

(323)  Emorrois:  the  snake  which  causes  its  victim  to  bleed 
to  death;  Tes.,  p.  135,  aspido.^^ 

(332)  Or  s'io  volessi  de'  pesci  contare, 
E  tante  forme  diverse  narralle, 
Sarebbe  come  in  Piiglia  annumerare 
Le  mosche,  le  zanzare,  e  le  farfalle. 

(End  of  the  canto).  Probably  a  common  popular  comparison 
of  Pulci 's  time. 

(324)  E  non  si  ricordo  della  Giraffa. 

Apparently  the  only  reason  for  the  presence  of  the  giraffe  at 
the  end  of  a  long  enumeration  of  serpents  is  that  its  name 
rhymes  with  Arhatraffa  in  the  preceding  line. 

(328)    Goredul  cio  che  per  ventura  piglia, 
Del  oor  si  pasce,  e  I'avanzo  si  resta. 

Isidore,  xii^  7 :34,  "  Coredulus  genus  volatile,  quasi  cor  edens." 

(331)   Gufo,  V.  Incendola,  p.  35. 

(325)  E  degli  uccelli  Ihis,  che  par  cicogna, 
Perche  e'  si  pasce  d'uova  di  serpente; 
Fassi  il  cristeo  al  tempo  che  bisogna 
Con  I'acqua  salsa,  chi  v'ha  posto  mente, 
Rivolto  al  culo  il  becco  per  zampogna ; 
'Che  la  natura  sagace  e  prudente 
Intese,  mediante  questo  uccello, 
Apparar  poi  i  fisici  da  quello. 

Tes.,  p.  180 ;  Best.  Tosc,  ms.  Rl,  R3,  R4,  ^  (v.  G-W.,  p.  86 ; 
McKenzie,  Unpublished  Manuscripts  of  Italian  Bestiaries, 
p.  408)  ;  Leon.,  E"o.  84. 

(330)  Ihor  come  caval  s'ode  anitrire. 

V.  p.  40. 

(315)   Icneumone,  poco  animal  noto, 

»»  V.  Rein.,  p.  129. 


Luigi  Pulci  and  the  Animal  Kingdom  35 

Coll'  aspido  combatte,  e  I'armadura 
Prima  si  fa  tutfandosi  nel  loto ; 
Dormendo  il  coccodrillo,  il  tempo  fura, 
E  in  corpo  gli  entra  come  in  vaso  voto ; 
Pero  che  tiene  aperta  per  natura 
La  bocca,  quando  di  sonno  ha  capriccio, 
E  lascia  addormentarsi  dallo  scriccio. 

Leon.,  No.  80,  gives  the  conibat  of  the  icnemnone  with  the 
aspido.  Brimetto,  Tes.,  p.  102,  has  a  different  version,  in  some 
respects,  of  the  crocodile  story:  here  the  bird  is  called  scon- 
filions  and  the  little  animal  calcatrice.  "  Sconfilions  .  .  .  va 
a  questo  animale,  e  ponesi  alia  bocca,  e  grattagli  la  gola  si 
dolcemente  ch'  egli  apre  la  bocca."  Leon.,  No.  81,  cocodrillo, 
corresponds  more  nearly  to  Pulci's  version. 

(331)  Incendola,  col  gnfo  combattendo, 

Vince  il  di  lei,  e  il  gnfo  poi  la  notte. 

V.  p.  40. 

(317)  Ippotamo,  animal  molto  discreto. 
Quasi  cavallo  o  di  mare  o  di  fiume, 
Entra  ne'  campi  per  malizia  a  drieto; 
E  se  di  sangue  superchio  presume, 
Cercando  va  dove  fusse  canneto 
Tagliato,  e  pugne,  come  e  suo  costume. 
La  vena,  e  purga  Fumor  tristo  allotta, 
Poi  risalda  con  loto  ov'  ella  e  rotta. 

(318)  E  non  ti  paia  opinion  qui  folle, 
Che  da  quel  tratto  e  la  flebotomia, 
Perche  natura  benigna  ci  voile 
InsegTiar  tutto  per  sua  cortesia ; 
Non  si  passa  di  questo,  se  non  molle, 
II  cuoio,  tanto  duro  par  che  sia: 
Co'  denti  quasi  di  vetro  ferisce, 

E  con  la  lingua  forcuta  anitrisce. 

Tes.,  p.  113;  Leon.,  No.  83. 


36  Luigi  Pvlci  and  the  Animal  Kingdom 

(324)   Irundo,  v.  p.  39. 

(312)  Leofante  {Elefant.e) ,  v.  Rinoceronte,  p.  38  (316)  v. 
Eale,  p.  33. 

(313)  Leucrocuta  e  un  altro  animale, 
Groppa  ha  di  cervio,  e  collo  e  petto  e  coda 
Di  lion  tutto,  e  bocca  da  far  male, 

Ch'  e  fessa,  e  iusino  agli  oreccbi  la  snoda, 
E  contraffa  la  voce  naturale 
Alcuna  volta  per  malizia  e  froda. 

Tes.j  p.  258 :  most  of  the  description  corresponds,  but  the  detail 
of  the  imitation  of  the  human  voice  Pulci  has  evidently  bor- 
rowed from  the  hyena  story. 

(319)  Licaon  e  come  lupo  famoso. 

In  Greek  mythology  Lycaon,  King  of  Arcadia,  was  turned  into 
a  wolf  by  Zeus  as  a  punishment  for  having  set  before  him  at 
table  a  dish  of  human  flesh  to  test  his  divinity.  The  name  is 
applied  in  modern  Italian  to  the  South  African  wild  dog 
(Hoare).     Pliny,  viii^  52. 

(313)  Lion,  v.  Leucrocuta,  above:    (319)   v.  Liontofono, 

below. 
(319)  Liontofono  e  poco  conosciuto, 

Che  del  lione  e  pasto  venenoso. 

St.,  No.  1,  Leone;  ^^  Pliny,  viii,  57 ;  Isidore,  Et.  xii,  2,  34. 

(330)   Luce  Lucidia,  un  pulito  uccelletto, 
Tanto  che  quasi  carbonchio  par  sia, 
Sicche  di  notte  dimostra  la  via. 


92 


Cecco,  No.  4 ;  Leon.,  No.  36,  lumerpa. 

(312)   Lupo,  V.  Crocuta,  p.  33.     (319)  v.  Licaon,  p.  36. 
(320)   E  Macli  ^^  e  bestia,  ch'  a  dir  pare  insania, 

*W.  G-W.,  169:  Anglia,  VIi,  448. 

•^v.  Rein.,  p.  198:  G-W.,  pp.  204,  248. 

"v.  Alci,  p.  28. 


Luigi  Pulci  and  the  Animal  Kingdom  37 

Che  con  le  giunte  niente  lavora, 
Si  che  donnendo  rimane  alia  pania ; 
Perche  appog-giato  a  iin  albero  s'accosta, 
E  chi  quel  taglia  lo  piglia  a  sua  posta. 

Leon.,  No.  61,  macli,  notes  this  peculiarity  of  the  elk,  which  is 
attributed  to  the  elephant  in  most  of  the  bestiaries.  Pulci  tells 
the  same  story  of  the  latter  in  xix,  74  ff.,  where  Morgante  and 
Margutte  secure  an  elephant  in  this  manner. 

(311)   Altri  in  bocca  hanno  tre  filar  di  denti, 
Con  volto  d'uom,  Manticore  appellati. 

Tes.j  p.  258;  where,  however,  there  is  nothing  said  about  the 
three  rows  of  teeth.®^  Luca  Pulci's  Ciriffo,  iv,  25,  mentions 
them :  Pliny,  viii,  45. 

(327)  Meonide  ancor  son  famosi  uccelli, 

Che  f  anno  appena  creder  quel  ch'  e  seritto ; 
Pero  ch'  ogni  cinque  anni  vengon  quelli 
Di  Meone  al  sepulcro  insin  d'Egitto : 
Combatton  quivi,  o  gran  misteri  e  belli ! 
Mostrando  pianto  naturale  afflitto. 
Come  facessin  I'esequie  e'  1  mortoro, 
Poi  si  ritornon  nel  paese  loro. 

The  name  is  obviously  taken  from  the  habitat  of  the  bird, 
Meone,  or  Meonia,  as  the  Tramater  Dictionary  gives  it,  a  region 
of  Lydia  in  Asia  Minor.    Pliny,  x,  26  ^^ :  Isidore,  xii,  7 :  30. 

(332)  Mosca  (le  mosche),  v.  farfalla,  p.  34. 
(324)  Naderos  molto  e  solitario  immite,  v.  p.  39. 

Natrice — ^the  water-snake. 
(331)   Oca,  V.  Porfirio,  p.  38. 
(324)  Passer.    This  is  some  sort  of  serpent  and  not  the  bird 

of  XIV,  50,  60. 

(311)  Poi  son  Pegasi  cornuti  ed  alati. 

(312)  Da  questi  e  detto  il  fonte  di  Pegaso. 

"v.  G-W.,  p.  188:   Mann,  p.  449.  '"v.  note  at  the  end  of  this  chapter. 


38  Luigi  Pulci  and  the  Animal  Kingdom 

(307,  332)  Pesce.  The  fishes  are  mentioned  at  the  heffinninir 
and  end  of  the  padiglione  but  are  not  described. 

(331)   Ma  sopratutto  Porfirio  commendo, 

Un  certo  uocel  che  non  teme  di  gotte ; 
Che  cio  che  piglia  lo  mangia  bevendo, 
Si  eh'  e'  vuol  presso  la  madia  e  la  botte ; 
L'un  pie  par  d'oca,  perch'  e'  nuota  spesso ; 
E  Faltro,  con  ch'  e'  mangia,  e  tutto  fesso. 

Pliny,  X,  63,  describes  this  bird.  Fulica  porphyrion  —  coot 
(Hoare). 

(323)  Prester.    Tes.,  p.  135,  Aspido;  presto  is  given  as  one 
sort  of  asp.    Lat.  praester.^^ 

(324)  Rimatrice,  v.  p.  39. 

(312)   Un  altro,  il  qiial  Rinoceronte  e  detto, 

Offende  con  un  corno  ch'  egli  ha  al  naso, 
Perche  molto  ha  I'Elef ante  in  dispetto ; 
E  se  con  esse  si  riscontra  a  caso, 
Convien  che  l'un  resti  morto  in  effetto. 

The  enmity  between  the  elephant  and  the  unicorn  is  told  in 
Pliny,  VIII,  Yl.  For  the  confusing  of  the  two  animals  v.  Rein., 
p.  104  and  G-W.,  p.  313. 

(322)  Tin'  altra  ancora  e  Salpiga  appellata, 
Che  nuoce  assai  sanza  muover  le  ciglia. 

Isidore,  xii,  4  "  Salpuga  serpens  est  quae  non  videtur." 

(323)  Saure.  The  Latin  bestiary  mss.  Oottweih  101,  400, 
154  and  Vienna,  Cod.  Lat.  1010  and  also  the  Old  High  German 
versions  contain  a  description  of  this  snake  (No.  12);  "  De 
lacerta,  id  est  so-wra."  ®'^  (Mod.  lucertola),  v.  also  Isidore,  xii, 
4:  37. 

(315)   Scriccio,  v.  Icneumone,  p.  34. 

^  V.  Rein.,  p.  130. 

*'v.  Mann,  Der  Bestiaire  Divin  des  Guilluume  le  Clerc:    Rein.,  p.  136. 


Luigi  Pulci  and  tlie  Animal  Kingdom  39 

(311)  Serpente,  v.  Anfisibena,  p.  28:  (314)  v.  Catohlepa, 
p.  31:  (320)  V.  Bora,  p.  30:  (323)  v.  Chelidri,  p.  32:  (325)  v. 
Ihis,  p.  34. 

(322)   Spettafico.  "  Venomous  serpent  "  (Florio).  v.  below. 
(322)   E  una  fera  Tarando  e  chiamata, 

La  qual,  dov'  ella  giace,  il  color  piglia 

Di  quella  cosa  ch'  ella  e  circundata ; 

Si  clie  a  vederla  la  vista  as&ottiglia. 

The  modern  tarando  is  the  same  as  renna,  the  reindeer  (Hoare). 
Pliny,  VIII,  52,  descrihes  the  animal,  which  he  classes  as  a  spe- 
cies of  wolf.  The  trait  ascribed  to  it  belongs  to  the  chameleon, 
a  lizard. 

(319)   TooSj  il  qual  non  e  sempre  piloso, 
La  state  e  nudo,  e  di  verno  velluto. 

Pliny,  VIII,  52,  thoes  "  per  hiemes  hirti,  aestate  nudi." 

(319)   Tragelafo  e  oome  becco  barbuto. 
Tramater  gives  the  etymology  as  from  Tragos,  goat  and  Elaphos, 
deer.     Pliny,  viii,  50.     Bartholomaeus  Anglicus  also  describes 
the  tragelafo,  Bk.  xviii,  Ch.  xcix. 

(329)    Volpe,  V.  Atilon,  p.  29. 
(332)   Zanzara,  v.  farfalla,  p.  34. 

It  will  have  been  noted  that  in  Padiglione  HI  a  number  of 
creatures  have  been  passed  over  without  designation  of  source 
or  other  explanation  of  their  nature  than  that  which  Pulci 
himself  gives.  Of  the  twenty-two  included  in  this  list,  eighteen 
are  serpents  (thirteen  from  Stanza  324,  the  list  of  basilisks) 
and  four  are  birds.  They  are  not  to  be  found  in  the  bestiaries 
nor  in  the  older  treatises  on  natural  history,  nor  are  they  used 
by  Pulci's  contemporaries.  The  list  is  as  follows:  Serpents 
(324,  basilisks)  Altinanite,  Andh-io,  Arache,  Arhatrajfa, 
Armene,  Assordio,  Beruse,  Dracopopode,  Edisimon,  Irundo, 
Naderos,  Passer,  Ritnatrice:  (322)  Arunduco:  (313)  Assi: 
(320)  Bora:  (323)  Caferaco:  (322)  Spettafico.    Birds  (328) 


40  Luigi  Pulci  and  the  Animal  Kingdom 

CaHta:  (329)  Driaca:  (330)  Ibor:  (331)  Incendola.  While 
it  appears  impossible  to  find  the  origin  of  these  names,  it  is 
interesting  to  note  that  some  of  them  are  strikingly  similar  to 
certain  place-names  of  "  la  gran  Libia  "  (i.  e.,  Africa  or  the 
Orient  in  general)  which  Astarotte  cites  at  the  beginning  of 
the  padigUmie  as  the  home  of  many  strange  and  little-known 
animals.  It  has  been  seen  that  Pulci  took  from  his  sources  at 
least  one  bird  whose  name  was  based  on  a  place — the  Meonide,^^ 
from  Meone  in  Lydia :  it  is  possible  that  he  invented  some  others 
in  the  same  manner.^^ 

Ill 

Animals  I^ot  Found  in  the  Padiglioni 

There  are  in  addition  to  the  creatures  mentioned  in  the 
second  and  third  padiglimie  episodes,  a  great  many  other  refer- 
ences to  animals  scattered  through  the  twenty-eight  cantos  of 
the  poem.  Many  of  these  creatures  have  already  come  up  for 
consideration  in  connection  with  the  padiglioni,  but  require 
further  treatment  here  on  account  of  new  material  in  connec- 
tion with  them ;  others  are  not  found  in  either  of  the  padiglioni. 
There  are  many  references  to  fables  and  proverbs,  and  at  least 
two  fables  are  given  complete.  Casual  references  to  common 
animals  are  omitted  where  their  treatment  requires  no  special 
consideration.  This  list,  with  the  two  padiglioni,  will  complete 
the  study  of  Pulci's  animal  references.^ 

Acceggia. 

IV,    55 :  V.  falcone,  p.  64. 
XIV,    56 :  V.  p.  13. 

=«v.  p.  37. 

"'The  following  might  be  suggested:  Altinanite — Altino,  an  Italian  town: 
^^d^o  — Andros:  Amcft*  — Araca(Chaldea)  :  Arfeafrft^o.  — Arl)ata( Pales- 
tine)  :  Armene  —  Armenia:  ilssordio  —  Assoro( Macedonia )  :  Arunduco — 
Arunda( Spain)  ?  Bora— 'Mountain  of  Macedonia,  also  a  strong  north  wind 
in  the  Adriatic:  CaH^a— Car itena  (Morea)  :  Ibor — Ibora  (Cappadocia). 

*  Comparisons  have  been  treated  by  Halfmann,  op.  cit.,  and  will  not  be 
considered  here  unless  especially  important. 


Luigi  Pulci  and  the  Animal  Kingdom  41 

xxii^  169  :  ]Sron  si  conosce  ogni  volta  I'acceggia 
Al  becco  lungo. 

Agnello. 

XI,    73 :  V.  Half.  Xo.  247. 
XXI,    29:  Fecesi  incontro  un  fier  lion  gagliardo, 
Che  si  pensava  abboccare  un  agnello. 
xxu,  246 :  Se'  tu  quel  lupo  a  cui  non  campa  agnello. 
247 :  II  lupo  non  va  mai  cogli  agnelli. 

XXIV,  20 :  II  lupo  vuol  far  pace  coll'  agnello.^ 

XXV,  107 :  Poi  tomeranno  di  leoni  agnelli. 
271 :  V.  lupo,  p.  80. 

XXVI,  29 :  Mansueto  agnello 

Me  ne  vo,  come  Isaccbe,  al  sacrificio. 
XXVII,    37:  Pero  cb'  egli  era  un  semplicetto  agnello 
Con  un  bravo  lion  che  ognuno  atterra. 

The  lamb,  as  a  symbol  of  weakness,  is  always  contrasted  with 
the  fiercer  animals. 

Angue. 

XI,       1 :  Campasti  noi  dalla  fera  crudele, 

Dal  suo  velen  come  pestifer  angue. 

The  Devil  is  represented  as  a  worm  whose  poison  is  death.   . 

XXV,  322 :  v.  p.  28. 

XXVI,    37 :  Colui  che  sparse  il  giusto  sangue, 
Per  liberarci  dal  mortifero  angue. 

V.  XI,  1,  above. 

Anitea. 

XIV,  55,  56:  v.  pp.  13,  14. 
XXV,  273 :  v.  Half.  l^o.  274. 

XXVII,  54 :  E  se  ne  fece  gozzi  d^anitroccoli. 

^  These  references  suggest  the  fable  of  the  wolf  and  lamb. 


42  '    Luigi  Pulci  and  the  Animal  Kingdom 

Apa. 

xxi^    73 :  Cera  .  .  .  Delle  prime  ape. 
XXVIII,  141:  V.  Half.    No.  285. 

Aquila. 

VIII,    25  :  Nel  campo  rosso  era  im'  aquila  bianca. 

Describing  the  coat  of  arms  of  Erminione. 

XIV,    41 :  La  fanciulla  guata 

Come  sta  fissa  Vaquila  nel  sole. 
V.  p.  19. 

47:  V.  p.  19. 
XXVII,    88 :  V.  Half.    No.  255. 

Aeagna. 
XXII,  134:  Tele  d^aragne. 

Dante  uses  the  same  form  of  the  word  instead  of  the  more 
common  ragno,  Inf.,  xvii,  18. 

ASINO. 

V,    39 :  Gli  orecchi  parean  d^asino  a  vedegli. 

Describing  a  wild  man. 

VI,    19 :  A  ogni  casa  appiccheremo  il  maio, 
Che  come  Vasin  fai  del  pentolaio. 

Rinaldo,  again  ridiculing  the  love  affairs  of  Ulivieri,  happily 
employs  the  two  proverbs,    v.  Hoarej  maio  and  pentolaio. 

XIV,    74:  V.  p.  13. 
XVIII,  129:  Sappi  ch'  io  aro,  e  non  dico  da  beffe, 
Col  cammello,  e  coll'  asino,  e  col  hue. 

Diz.  della  Criisca,  arare,  v :  "  Arare  col  hue  e  coll'  asino — darsi 
da  fare  qiianto  e  possible."  Margutte  boastingly  throws  in  the 
camel  for  good  measure. 

XIX,  142 :  Come  tra'l  hue  e  Vasin  nacque  Cristo. 
XXII,  118:  Tu  non  se'  uom  di  regger,  Carlo,  impero, 


Luigi  Pulci  and  the  Animal  Kingdom  43 

E  fai,  come  si  dice,  Viisinello, 

Che  sempre  par  che  la  coda  conosche  j 

Qnando  e'  non  I'ha,  che  sel  mangion  le  mosche. 

Diz.  della  Crusca,  asino,  xxxviii:  Tramater,  Diz.  asino,  21, 
quotes  a  canzone  of  Lorenzo  de'  Medici ;  "  Che  la  coda  par 
conosce,  I'asinin  quand'  e'  non  I'ha."  Evidently  a  familiar 
proverb  in  Pulci's  time,  since  his  patron  also  used  it.  v.  Half. 
No.  86. 

XXV,  329:  v.  Atilon,  p.  29. 
XXVII,  114:  Sai  che  e'  si  dice:  noi  non  siam  di  maggio; 
E  non  si  fa  cosi  degli  altri  mesi, 
Perch'  e'  canta  ogni  uccel  nel  sue  linguaggio, 
E  Vasin  fa  que'  suoi  ragli  distesi ; 
Si  che  la  cosa  ridire  e  vantaggio. 

A  humorous  interpretation  of  the  proverb,  "  noi  non  siara  di 
maggio " :  it  is  advantageous  to  repeat  things  said  in  May 
because  of  the  racket  caused  by  the  birds  and  the  "  elongated  " 
brayings  of  the  ass. 

276:  Sai  che  si  dice  cinque  acque  perdute; 
Con  che  si  lava  all'  a^ino  la  testa.^ 

Diz.  della  Crusca,  acqua  (Prov.)  xx:  "  Modo  proverbiale  e  da 
scherzo."  This  passage  is  cited.  The  first  of  the  "  five  lost 
waters  "  is  that  in  which  the  ass'  head  is  washed.  The  others 
do  not  refer  to  animals,  but  the  third  is  interesting  as  it  gives 
Pulci's  opinion  of  the  Germans.* 

AsSILLO. 

VII,  44 :  V.  Half.     No.  293. 

ASTOR. 

XIV,  48 :  V.  p.  9. 
XXVII,  25:  V.  Half.    No.  258. 

'  Tommaseo-Bellini,  Diz.,  s.  v.  asino,  25;  "  Prendersi  cura  vana." 

*Cf.  XIX,  139  and  Uuovo  Gior.  Dwntesco,  i,  2,  note  2    (1917).     v.  also 

Morgante,  vil,  39  and  XXI,  138;  for  the  last  v.  Diz.  della  Crusca,  cantare, 

XXX.     Cf.  also  Porco,  p.  106  below. 

4 


44  Luigi  Pulci  and  the  A^iimal  Kingdom 

Babbuino. 

siv^  80 :  V.  p.  13. 
XXIV,  93 :  V.  Half.    'So,  230. 

XXV,  91 :  Gano  writes  to  Carlo  that  King  Marsilio  is  sending 
him  rich  gifts,  Which  he  enumerates :  in  the  list  there  are  ani- 
mals and  birds,  and  among  the  former  are  hahbuini. 

Baiakdo  (Rinaldo's  steed). 

III,  46 :  Baiardo  seizes  a  Pagan  and  crushes  his  arm  and  shoul- 
der with  his  teeth  as  a  mastiff  would.  The  idea  of  the  horse 
fighting  for  his  master  will  be  noted  frequently.  This  instance 
is  taken  from  Orlando,  vi.  1. 

67 :  Brunoro  fights  Rinaldo  for  possession  of  Baiardo. 

IV,  31 :  E  fe  Baiardo  Salter  com'  un  gatto. 

V,  25 :  Baiardo  takes  alarm  at  Malagigi  disguised  as  an  old 
man;  but  Malagigi  mounts  him  and  rides  off,  pursued  by  Rin- 
aldo on  Yegliantino  (25-30).    O,  ix,  21-26. 

61 :  Rinaldo's  mighty  blow  at  the  wild  man,  which  sinks  his 
sword  a  yard  into  the  earth,  causes  Baiardo  to  fall  to  his  knees. 
Cf.  Vegliantino,  p.  99. 

IX,  18:  A  Pagan  demands  Baiardo  of  Rinaldo  and  a  struggle 
ensues  for  his  possession  (18-27).    O,  xiv,  9-19. 

X,  50 :  He  is  made  to  leap  like  a  leopard. 

79 :  Malagigi  carries  off  Baiardo  and  Durlindana,  Rinaldo's 
sword,  leaving  in  their  stead  Vegliantino  and  Frusberta,  Or- 
lando's horse  and  sword.  This  joke  brings  about  a  quarrel 
between  the  two  knights.    O,  xvii,  26. 

XVI,  67:  E  con  Baiardo  fe  del  barberesco;  that  is,  groomed 
him  (Hoare). 

98:  A  giant  claims  Baiardo.     O,  xxxii,  39. 
xviii,  97:  Baiardo  gives  the  alarm  to  the  sleeping  knights  by 
kicking  against  a  shield.     O,  xlii,  12.^ 

xxiv,    132:  Pulci  explains   that   it  was   Vegliantino   and  not 
Baiardo  that  pursued  and  killed  the  Saracens  in  Roncisvalle. 
XXV,    133 :  The    demon    Astarotte,    at    Malagigi's    suggestion, 
enters  into  Baiardo  and  flies  thus  from  Montauban  to  Egypt  to 

*v.  Potter,  The  Horse  as  an  Epic  Character,  p.  129. 


Luigi  Pulci  and  the  Animal  'Kingdom  45 

bring  Riualdo  and  Ricciardetto.  He  objects  to  taking  them 
botb  on  Baiardo's  back  (1G4).^  Rinaldo  mounts  (210).  Bai- 
ardo  feels  the  demon  within  him  and  "  come  un  drago  a  soffiar 
comincioe  "  (211).  Rinaldo  expresses  his  confidence  in  Bai- 
ardo  but  warns  Astarotte : 

(224)  Andar  qui  ci  bisogna 

Di  salto  in  salto  come  il  leopardo. 

Baiardo  would  have  done  his  best  mthout  Astarotte  within  him : 
his  movements  are  compared  to  those  of  cranes  in  rising  from 
the  earth  (225).  At  Giubilterra  (Gibraltar)  he  leaps  over  the 
strait  "  COS!  alto  non  saltan©  i  grilli "  (247)  :  "cadde  in  terra 
lieve  come  un  gatto "  (249).  Astarotte  prevents  him  from 
drinking  at  a  fountain  which  he  knows  to  be  enchanted  (277). 
He  accuses  Squarciaferro,  another  demon,  of  trying  to  entice 
Baiardo  to  the  enchanted  water  (279).  And  so  they  ride  on 
to  Siragozza  (288). 

xxvii^  74:  V.  cane,  p.  52. 

76:  Rinaldo,    Ricciardetto    and    Baiardo    kill    thirty 
thousand  Pagans. 

Balena. 

xiv^    64:  V.  p.  10. 
xviii^  195 :  Per  Dio,  tu  mangeresti  una  halenci. 

MargTitte  upbraids  Morgante  for  his  great  appetite ;  Morgante 
replies : 

196 :  E  certo  una  halena  coUe  squame 
Arei  mangiato. 

xix^  7:  I  granchi  credon  morder  le  halene. 
Moro-ante  addresses  this  remark  to  a  lion  which  attacks  him.''' 
XX,  45-55  :  The  crab  and  the  whale  are  associated  in  two  other 
proverbs ;  ^  and  Pulci  brings  them  together  again  in  the  de- 

•  Another  demon,  Farfarello,  enters  into  Ricciardetto's  horse,  which  bears 
him. 

^  Diz.  della  Crusca,  s.  v.  granchio,  xxiv, 

*  Dis.  della  Crusca,  s.  v.  granchio,  xvni  and  xx. 


46  Luigi  Pulci  and  the  Animal  Kingdom 

scription  of  the  death  of  Morgante.  He  kills  a  whale  which 
attacks  the  ship  on  which  he  is  travelling,  but  while  wading  to 
shore  he  is  bitten  on  the  foot  by  a  crab  and  dies  from  the  wound. 

XXIV,  58:  Antea's  giants  carry  "  coste  di  halena"  with  which 
they  crush  everything  which  comes  in  their  way.  Mentioned 
again  in  84. 

Baebio. 

XIV,  68 :  V.  p.  13. 

XX,  48:  V.  Half.     ISo.  281. 

Bavalischio.  \ 

VI,  19:  Vedeva  gli  occhi  far  del  havalischio. 

A  reference  to  the  deadly  effect  of  the  basilisk's  glance,  used 
humorously  here  to  describe  Ulivieri's  glances  at  Meridiana. 
XIV,  82 :  V.  p.  20. 

XIX,  66-69 :  Morgante  and  Margutte,  while  escorting  a  lady 
through  the  forest,  encounter  a  basilisk  which  Morgante  kills 
with  his  bell-clapper.  Strangely  enough,  the  lady  proposes 
that  they  roast  and  eat  it,  adding : 

lo  ho  mangiato 
Del  tigre,  del  dragon,  del  cocodrillo;, 
Vero  e  che  '1  capo  e  la  coda  ho  spiccato. 

Her  peculiar  taste  is  accounted  for  by  the  fact  that  she  has  been 
forced  to  eat  these  things  by  the  giants,  her  captors.  Cf. 
Stanza  28. 

XXV,  323:  v.  p.  29. 

Beccafico. 
XIV,    59 :  V.  p.  15, 

XXV,  216:  Posti  a  sedere,  ecco  giunto  un  pia  piattello  tello. 
Di  beccafichi  e  di  grassi  ortolani. 
Becco. 
XXV,  294:  v.  Volpi  ed.,  note. 
319 :  V.  Tragelafo,  p.  39. 
xxvi,  116,  Marsilio  calls  Mahomet  ^' hecco  can  ribaldo." 


Luigi  Pulci  and  the  Animal  Kingdom  47 

Berta. 


9 


XVIII,  122 :  Far  la  herta — to  deceive,  cheat. 

Beetuccia. 

VIII,  74:  Che  tu  mi  pare  una  hertuccia  in  zoccoli. 
V.  XIX,  147,  below. 
XIV,  80 :  V.  p.  9. 
XVI,  78:  E  dice  I'orazion  della  hertuccia. 

"  To  mutter  curses  "  <Hoare). 

XIX,  147:  In  the  account  of  the  death  of  Margutte  (145-150), 
Morgante  pulls  off  his  boots  while  he  lies  sleeping  and  places 
them  at  a  little  distance  from  him.  A  monkey  finds  them  and 
amuses  itself  by  putting  them  on  and  taking  them  off  repeat- 
edly. Margutte,  awakening,  sees  this  and  is  so  amused  thereiby 
that  he  laughs  so  violently  and  so  long  that  he  finally  bursts: 

(149)   E  parve  che  gli  uscissi  una  bombarda, 
Tanto  fu  grande  dello  scoppio  il  tuono. 

Best.  Tosc,  No.  11,  tells  how  monkeys  are  caught  by  the  use 
of  little  boots  made  by  the  hunters,  who  leave  them  where  the 
monkeys  will  find  them  and  imitate  the  action  of  taking  off  and 
putting  on  their  boots.  Pulci  increases  the  comic  element  in 
the  story  by  picturing  a  monkey  busily  occupied  with  the  great 
boots  of  the  giant  Margutte. 
XXII,  45  :  v.  Half.  l^o.  230. 
XXV,  91 :  Among  the  gifts  sent  by  Marsilio  to  Carlo  Magno. 

BiSCIA. 

XIV,  83:  V.  p.  13  (v.  59;  xxi,  76;  xxii,  134). 

BiSSONTE. 

XXV,  90:  Bissonti  gagliardi;  among  the  gifts  of  Marsilio. 
320:  V.  p.  30. 

•Tramater,  Diz.,  s.  v.  berta,  No.  8:2;  the  word,  besides  having  the  above 
meaning,  is  a  name  for  the  jay. 


48  Luigi  Pulci  and  the  Animal  Kingdom 

BOCCINO. 

V.  Yacca,  p.  99. 

BOTTA. 

xxvii,  256:  v.  Half.     No.  278. 

Bkuco. 

II.  27 :  V.  Half.    ISo.  283. 
xxiii^  48:  Ibid.     Leonardo,  l^o.  52  describes  the  caterpillar. 

BuE. 
iii^  59:  Con  un  sol  hiie,  io  non  son  buon  bifolco; 
Ma  s'  io  n'  ho  due,  andra  diretto  il  solco. 

This  is  a  paraphrase  of  0,  vi^  14,  where  the  proverb  reads: 

A  uno  arato  ua  un  bue  torto  e  strecto, 
Se  ue  n'  e  due,  il  solcho  ua  piu  diretto. 

By  these  words  Rinaldo  tells  Brunoro  that  he  intends  to  hear 
both  sides  of  the  story  of  the  latter' s  grievance  against  the 
abbot. 

xiii^  31-34:  Einaldo  tells  the  fable  of  the  man  vs^ho,  because 
he  dreamed  that  he  owned  his  neighbor's  oxen,  claimed  posses- 
sion of  them :  the  case  being  brought  before  Solomon,  he  caused 
the  oxen  to  pass  over  a  bridge  and,  pointing  to  the  reflections 
in  the  water,  told  the  claimant  that  since  he  had  dreamed 
possession  he  might  pay  himself  in  the  reflections.  Rinaldo 
uses  the  fable  to  convince  Marsilio  that  he  shall  not  have  his 
horse  without  fighting  for  it.  Pulci  took  it  directly  from  O, 
XXV,  29-32. 
XIV,  74:  V.  p.  15. 

xviii,  129 :  XIX,  142 :  v.  Asino,  p.  42. 
XKi,  68:  Perche  intendiate,  seguitava  poi 

Malagigi,  e'  ci  sara  da  far  pur  molto, 
Disse  colui  che  non  ferrava  i  huoi, 
Ma  I'oche,  e  gia  I'incastro  aveva  tolto. 

"  We  have  plenty  to  do,  as  the  man  said  who  shod  geese  and 


Luigi  Pulci  and  the  Animal  Kingdom  49 

not  oxen."     The  Tramater  dictionary  gives  this  as  a  common 
proverb.^^     It  occurs  also  in  Cirijfo  Calvaneo.^^ 
XXV,  320 :  V.  Bissonte,  p.  30. 

BUFOL. 

xiv^  77 :  V.  p.  15. 

XVIII,  15'2 :  Morgante   orders   an   innkeeper   to   roast   a   hufol 

which  he  has  seen  coming  into  the  place.     The  latter  complies 

under  compulsion  and  Morgante  and  Margutte  eat  the  vt^hole 

animal  (153-155). 

XXV,  118:  V.  Half.    No.  250. 

Cammello. 

XIV,    77 :  V.  p.  9. 
XVIII,  129:  V.  asino,  p.  45. 

166-200:  Here  occurs  the  long  story  of  a  camel  which 
Margutte  discovers  in  the  stable  of  the  inn  where  they  are  lodg- 
ing. Margutte  informs  himself  where  the  valuables  of  the 
house  are  kept,  the  simple  landlord  telling  him  all.  In  the 
middle  of  the  night  he  loads  the  camel  (176),  sets  fire  to  the 
inn,  wakes  Morgante  and  they  escape  (181).  To  a  man  who 
recognizes  the  innkeeper's  camel  he  replies  that  he  is  Dormi 
(the  innkeeper)  (185).  "E  maggior  bestia  se'  tu  che  il  cam- 
mello." They  wander  through  the  forest:  coming  to  a  foun- 
tain they  see  a  unicorn  approaching  to  drink  (188).  The 
creature  first  puts  its  horn  into  the  water,  waits  a  moment,  then 
drinks  (189).^^  They  kill  it,  build  a  fire,  roast  and  eat  it. 
Margutte  admires  the  wonderful  gastronomic  powers  of  Mor- 
gante and  they  fall  asleep  well-pleased  with  each  other. 
Morgante,    praising    Margutte,    borrows    a    line    from    Dante 

"  Ooa,  No.  8. 

"  Tramater  gives  the  reference  as  i,  28,  but  the  compilers  evidently  used 
an  edition  much  different  from  that  of  Audin,  where  another  reference  by 
.Tramater  to  I,  28  is  found  in  IV,  25.  This  reference  is  not  to  be  found  in 
Audin,  unless  v,  41  has  been  changed  to  omit  the  proverb.  The  first  part 
only  is  present:  "  Ci  sarS  molta  faccenda."  €f.  Morel-Fatio  in  Bulletin 
Hispanique,  iv,  154. 

^^v.  p.  12. 


50  Luigi  Pulci  and  the  Animal  Kingdom, 

(199) :  "  Tu  se'  il  maestro  di  color  che  sanno."  ^^  Stanza  200 
ends  the  canto ;  it  begins :  "  E  la  cammella  si  pasceva  intorno." 
They  keep  the  animal  with  them  for  some  time  longer.  It  is 
mentioned  in  xix,  57,  65  and  finally  (94-96)  they  kill  and  eat 
it.  The  story  ends  with  a  passing  reference  in  138. 
XXV,  91:  The  gifts  sent  by  Marsilio  to  Carlo  are  loaded  upon 
camels  and  a  dromedary. 

107 :  Gano  counsels  Marsilio  to  send  camels  laden  with  food 
and  wine. 

127 :  Rinaldo  and  his  party,  in  the  Holy  Land,  mount  camels 
and  dromedaries  to  visit  Mount  Sinai. 

183 :  Marsilio  sends  the  camels  advised  by  Gano  in  107. 

Cane. 

The  word  cane  is  used  many  times  in  epithets,  either  alone  or 
coupled  with  some  other  word,  i,  31,  can  mastino:  34,  ... 
rinnegato  (O,  xxv,  20):  xv,  26,  .  .  .  mulfusso '^'^ :  49,  .  .  . 
peccatore:  82,  .  .  .  alano  ^^:  84,  canaglia:  xvii,  34,  .  .  .  ghiot- 
tone:  xviii,  101,  hecco  can  rihaldo:  xxvii,  268,  v.  p.  52. 
I.,  67 :  Tanto  che  '1  cane  sen  doleva  e  '1  gatto, 
Che  gli  ossi  rimanean  troppo  puliti. 

The  house  animals  mourn  over  the  gluttony  of  the  monks  which 
leaves  them  nothing. 

III,  42 :  "  Come  il  can  rodere  ogni  osso  "  as  a  symbol  of  greed, 
as  again  in  43 ; 

Ed  ossa,  dove  i  cani  impazzerebbono, 
E  in  Giusaffa  non  si  ritroverebbono. 

IV,  66:  V.  Half.     Ko.  241. 

v^  45 :  Forte  abbaiava  com'  un  cane  alano.^^ 

The  alano  is  mentioned  again  in  xv,  82,  xxv,  90  and  xxviii,  8. 
The  Dizionario  delta  Crusca  is  uncertain  as  to  the  origin  of 

"Inf.,  IV,  131. 

"  Tramater,  Diz.  "  Dall'  ar.  fissyq,  malvajgio,  adultero,  sodomita." 

"  V.  V,  4.5,  l)clow. 

"  Tommaseo-Bellini,  Diz.,  s.  v.  alano,  2:  Ciriffo,  v.  87. 


Luigi  Pulci  and  the  Animal  Kingdom  51 

this  word:  it  gives  as  a  possible  etymon  albano,  meaning  either 

Albanian,  Scotch  or  English.     Cook,  in  his  extended  discussion 

of  the  alaunts  of  Chaucer, ^'^  gives  their  origin  as  Spain   (p. 

130).     It  appears  from  his  description  and  the  illustrations 

that  the  alaunt  was  something  between  a  greyhound   and  a 

mastiff. 

VI,  41 :  Che  il  can  che  morde,  non  abbaia  invano. 

Tramater,  Diz.,  s.  v.  cane,  17. 

IX,  7(5 :  V.  volpe,  p.  101. 

XI,  72:  V.  Half.    No.  80. 

XIII,  52:  Non  fu  mai  lupo  arrabbiato  ne  cagna. 

XIV,  78:  V.  p.  15. 

XX,  60:  The  proper  name  Can  di  Gattaia  is  taken  from  0, 

XL  VI,  16. 

XXIV,  20:  V.  monione,  p.  82. 

46:  Tra  can  si  restera  la  rabbi  a. 

Diz.  delta  Crusca,  s.  v.  cane  lxv. 

63 :  Urlavan  giomo  e  notte  tutti  i  cani. 

Mentioned  as  one  of  the  signs  and  omens  which  appeared  at 
Paris  presaging  the  overthrow  of  the  Christian  army. 

95 :  Hai  tu  veduto  il  can  colla  cornaochia, 
Come  spesso  beffato  indarno  corre? 
Ella  si  posa,  e  poi  si  lieva  e  gracchia ; 
Oosi  costor  non  si  poteano  apporre. 

This  comparison  is  used  to  describe  Malagigi's  treatment  of 
Antea's  giants. 

126:  E  riscontrossi  con  Gan  di  Maganza, 

Che  fece  il  tristo  e'l  cagnaccio  all'  usanza. 

XXV,  90 :  Cani  alani  are  among  Marsilio's  gifts,    v.  p.  50. 
312 :  V.  Crocuta,  p.  33. 

XXVII,  42 :  Perche  i  Cristiani  impauriti  sonne, 
Come  il  cane  al  sonaglio  della  sferza. 

"A.  S.  Cook:    The  last  months  of  Chaucer's  earliest  patron.  Appendix  B. 


) 


52  Luigi  Pulci  and  the  Animal  Kingdom 

V.  Half.    N'o.  241. 

70:  V.  cavallo,  p.  55. 

74 ;  Baiardo,  the  war  horse,  fights  the  Pagans  "  come 
I'orso  fa  scostare  i  cani." 

168:  E  come  volpe  da'  cani  e  straziato. 
268:  Disse  Turpino:  io  voglio  essere  il  hoia. 

Carlo  rispose :  Ed  io  son  ben  content© 

Che  sia  trattato  di  questi  due  cani 

L'opere  sante  colle  sante  mani. 

Cappone. 

11^  24 :  Orlando  and  Morgante  find  a  rich  banquet  spread  in  an 
enchanted  palace ; 

Quivi  e  vivande  di  molte  ragioni, 
Pavoni,  e  starne,  e  leprette,  e  fagiani, 
Cervi,  e  conigli,  e  di  grassi  capponi. 
iii^  42 :  Trova  cola  che  faccin  colazione, 
Se  v'e  reliquia,  arcame  o  catriosso 
Eimaso,  o  piedi  o  capi  di  cappone. 

XVIII,  115:  Morgante  gives  his  Credo  whose  articles  are  things 
to  eat  and  drink,  among  them  the  cappone. 

123:  Qui  si  conviene  aver  gran  discrezione, 
Saper  tutti  i  segreti,  a  quante  carte, 
Del  fagian,  della  starna,  e  del  cappone. 

150:  E'  c'e  avanzato  un  grosso  e  bel  cappone. 
Disse  Margutte:  Oh,  non  fia  un  boccone. 

Capra. 

VII,  46 :  Tanto  andata  sara  la  capra  zoppa, 
Che  si  sara  ne'  lupi  riscontrata. 

This  proverb  occurs  in  O,  xv,  18,  and  again  in  xlv,  8.  v.  Half. 

ISTo.  84 :  Diz.  della  Crusca,  s.  v.  capra,  xvii. 

XIV,  77 :  capretta  v.  p.  13. 

XVI,  95 :  A  difficult  path  is  described  by  "  Dove  vanno  le  capre 

appena  scalzi."    Diz.  della  Crusca,  s.  v.  capra,  x. 


Luigi  Pulci  and  the  Animal  Kingdom  53 

xx^  G4:  The  Saracens  believe  they  will  have  an  easy  task  in 
overcoming  the  knights: 

E  credonsi  legar  cinque  cavretti 
O  pigliar  qiiesti  come  pecorini. 

Hoare,  cavretto — kid :  ''  to  believe  one  is  about  to  have  a  good 
success." 

XXI,  24:  Shepherds  kill  and  spit  capretti  and  lattonzi  for  the 
knights.  In  O,  xlvii,  7,  the  animals  are  vitella^  caponi  and 
polastri. 

XXII,  161 :  A  variation  of  xvi,  95. 

XXV,  263:  Un  pastor  .  .  .  che  guardava  le  capre. 
326:  V.  Agotile,j).  28. 

XXVI,  62:  V.  Half.  l^o.  249. 

XXVII,  246 :  Ibid. 

Cavallo. 

Many  references  to  the  horse  in  a  poem  of  chivalry  like  the 
Morgante  are  so  casual  as  not  to  require  discussion.^ ^  There 
are,  however,  in  this  work,  a  number  of  interesting  stories, 
proverbs  and  references  concerning  the  horse  which  are  worthy 
of  consideration.  Pulci  took  the  names  of  his  heroes'  war- 
horses  from  the  Orlando  for  the  most  part.  Baiardo,  Rondello 
and  Vegliantino  are  all  in  the  older  poem:  only  Mattafellone, 
Gano's  steed,  and  Duraforte,  mentioned  in  xxviii,  64,  are  not 
to  be  found  there.  Stories  of  these  horses  appear  under  their 
names  instead  of  here.  There  are  also  many  names  for  the 
horse  which  have  specialized  meanings,  such  as  afferrante — war- 
horse,  alfana,  halzan,  castron — gelding,  corridore,  destriere, 
giannetto,  morello  (v.  below),  palafreno — palfrey,  puledro — 
colt,  rozza — jade,  rozzone.  Some  of  these  have  already  been 
noted:  others  will  be  considered  here. 

I,  67  ff :  Orlando  gives  Morgante  a  horse  which,  however,  breaks 
down  under  his  weight. -^^ 


^o'^ 


"  For  this  whole  topic  cf.  Potter,  op.  cit. 
'"Potter,  op.  cit.,  p.  119. 


54  Luigi  Pulci  and  the  Animal  Kingdom 

III,  54 :  Einaldo,  disgusted  at  the  slovenly  table  manners  of  the 
Pagans,  justifies  himself  for  attacking  them  by  saying: 

Come  san  costoro, 
]^on  vo'  mai  noia,  quand'  io  sono  a  desco, 
E  sto  come  '1  caval  sempre  in  cagnesco.^^ 

V,  34 :  Malagigi  causes  a  horse  to  appear  by  magic. 

VII,  37 :  Morgante  eats  a  whole  castron  roasted. 

rx,  60:  Meridiana's  palfrey  has  a  serpent's  head:  it  was  bom 

of  a  mare  and  a  serpent. 

XIII,  51 :  Un  gran  caval  co'  denti  e  colle  penne. 

This   is   the   wild  horse,   winged   apparently,   which   Rinaldo 

tames.    The  story  appears  in  O,  xxvi,  7  ff.,  where  the  detail  of 

the  penne  is  omitted:  in  stanza  16  the  wild  horse  is  compared 

to  a  dimonio. 

XTV,  74 :  v.  p.  10. 

XVI,  67:  Cavallo  arahesco. 

xviii,  65:  Caval  morello:  a  horse  of  a  very  dark  color — almost 

black  (Hoare).    O,  xviii,  40. 

XX,  8  ff. :  Gano  hangs  a  shepherd  for  having  stolen  Rinaldo's 
horse,  which  the  shepherd  protests  he  has  reared  from  a  colt 
{puledro,  12).     O,  xliii,  7  ff. 

XXI,  55  ff. :  Lionibruno  wishes  Astolfo's  horse  and  fights  him 
for  it.     O,  xlviii,  15. 

84 :  The  Pagans  steal  Astolfo's  horse.    O,  xlix,  6. 
XXIII,  16 :  The   knights    find   two   dead   lions   in   their   path. 
Rinaldo  asks  who  has  killed  them:  Fugliatto  replies: 

E'  fia  Spinardo  sanza  fallo, 
Che  dicon  ch'  e  mezz'  uom,  mezzo  cavallo. 

They  find  the  centaur,  who  lives  in  a  cave  "  come  I'orso  o  come 
il  tasso"  (18).  Coming  out,  "mugghia  e  soffia  che  pareva  un 
toro."  "E  fischia,  come  serpe  quando  e  in  caldo "  (21). 
Rinaldo 

'"  I.  c,  irritable;  the  word  is  used  with  the  meaning  "cringing"  in  vu,  39. 


Luigi  Pulci  and  the  Animal  Kingdom  55 

(22)  iSi  difilava  a  Ini,  come  il  faleone 

Quando  ha  vediito  i  colombi  o  le  starne: 
O  ver  come  il  lion  che  vuol  far  carne. 
XXV,  52  :  Marsilio  entertains  Gano : 
Dopo  molto  piacer  .... 
E  corso  cervi,  alepardi  -^  e  cavalli. 

195:  Marsilio,  in  his  oration  to  his  soldiers,  says:  (I  Cris- 
tiani)  "  Mangeranno  i  cavalli  a  sno  dispetto." 

250 :  Ricciardetto  says  to  the  demon  Farfarello  within  his 
horse :  "  lo  non  son  bnono  uccello  " ;  i.  e.,  he  fears  to  take  the 
long  leap  (v.  p.  45).  The  demon  tells  him  not  to  fear,  first  by 
the  neighing  of  his  horse,  then  in  words. 

254 :  The  river  Beti,  near  Cordoba,  is  a  mere  "  saltellin  da 
ballo  "  for  the  steeds. 

260-262 :  A  necromancer  of  Toledo  learns  of  the  approach 
of  Rinaldo  and  Ricciardetto  from  Rubicante,  a  spirit,  who 
promises  to  enchant  their  horses  at  a  fountain  (v.  p.  45)  ;  271  ff. 
tells  how  this  plot  was  foiled. 

293 :  Farfarello  acts  as  stable-boy. 

316:  V.  Eale,  p.  33. 

317:  V,  Ippotamo,  p.  35. 

319:  V.  Alci,  p.  28. 
XXVII,  70':  Ulivieri's  horse,  after  his  master's  fall,  returns  to 
the  battle  and  fights: 

E  morde  per  tre  lupi  e  per  sei  cani.  .  .  . 
E  colle  zampe  s'arrosta  i  tafani. 

In  O,  XL,  35,  Spinellone's  charger  fights  against  his  master's 
enemies.  Cf.  Tes.,  p.  238,  "  E  sonne  assai  di  qiielli  che  conos- 
cono  il  nimico  del  loro  signore,  e  mordonlo  duramente  " :  also 
p.  240 :  the  Scythian  king's  horse  "  lo  difende  infino  alia  sua 
morte." 

258 :  O  vendetta  di  Dio,  qui  sare'  poco 
Agguagliar  la  miseria  de'  Troiani 

"  Cf.  leoparrln,  p.  72. 


56  Luigi  Pulci  and  the  Animal  Kingdom 

A  tante  afflitte  e  sventurate  donne, 
Qiiando  e'  menti  del  gran  caval  Sinonne. 

A  reference  to  the  wooden  horse  at  the  siege  of  Troy, 
xxviii^  14:  Ganelon  is  torn  to  pieces  by  four  horses. 

Cavkiuol. 

siv^    76 :  V.  p.  15. 

XXVI,  124 :  II  campo  che  fuggiva  de'  Pagani, 

Come  innanzi  a'  lion  gli  armenti  fanno, 
O  spesso  in  parco  i  cavrioli  e  i  dani. 

XXVII,  163 :  Gano,   at  the  sound  of  Orlando's  horn,   deceives 
Carlo,  making  him  believe  he  is  hunting : 

JSTon  ti  ricorda  .  .  .  giovinetto, 
Ognidi  era  o  con  orsi  alle  mani 
O  porci,  o  cervi,  o  cavriuoli,  o  dani  2 

Cerasta. 

XIV,  83:  V.  p.  13:  cerastra  (rhyme-word)  for  cerasta. 

XIX,  28:  The  lady  whom  Morgante  finds  alone  in  the  forest 

tells  how  she  is  oppressed  by  two  giants  (cf.  bavalischio,  above)  : 

E  vipere,  e  ceraste^  e  strane  carne 
Convien  ch'io  mangi  che  reca  da  caccia, 
Che  mi  solieno  a  schifo  esser  le  starne. 

Cerbero. 
II,  36  ff. :  Morgante,  after  having  been  baptized,  is  fired  with  a 
desire  to  descend  into  Hell  and  put  the  demons  to  rout : 

(39)   E  Cerhero  ammazzar  con  un  punzone. 
XXVII,  255:  In  the  destruction  of  Siragozza  by  the  Christians: 

Parea  .  .  .  che  Tesifo  e  Megera  ed  Aletto 
Vi  fusse,  e  Cerber  latrassi  il  gran  cane. 

Ceeviere. 
XI,  72 :  V.  cane,  p.  51. 
XIV,  78:  V.  p.  15. 


Luigi  Pulci  and  the  Animal  Kingdom  57 

XXII,  254:  The  lynx  appears  on  a  coat  of  arms. 

XXVI,  4 :  On  the  battle  standards : 

E  serpent!  e  lion,  cervieri  e  pardi. 

Ceevio. 
II,  24 :  V.  cappone,  p.  52. 

IV,  27 :  A  giant  has  skinned  and  hung  up  a  stag.     0,  vii,  25. 
XI,  98 :  Rinaldo  spurs  Baiardo  "  Che  non  si  vide  mai  saltar 
cervietto." 
XIV,  76:  V.  p.  11. 

XXII,  105  :  Diliante  makes  his  horse  leap  "  come  un  cerviatto  " 
(fawn). 

XXV,  52 :  V.  cavalla,  p.  55. 
313:  V.  Leocrocuta,  p.  36. 

XXVII,  37 :  "  Marsilio  spari  via  .  .  .  come  cervio  spaventato 
in  caccia." 

163 :  V.  cavriuol,  p.  56. 

Chimeea. 
XXV,  125 :  Rinaldo  finds  and  kills  a  chimera: 

(126)  Che  fu  maraviglia 

Che  mai  nessun  piii  non  v'era  arrivato. 
Oh'  affisar  sol  questo  mostro  le  ciglia. 
Col  guardo  suo  non  I'avessi  ammazzato. 

A  trait  borrowed  apparently  from  the  basilisk. 

Chiocciola. 

XXI,       49  :  E  non  parea  nel  suo  parlar  Bilette 

Che  violo  il  mandal  con  carte  chiocciole."^ 

This  is  apparently  a  reference  to  some  story.  The  word  mandal, 
according  to  Florio,  means  "  a  diabolicall  figure  or  effigies  used 
by  inchanters."     He  gives  a  variant,  Almandel. 

Chirone  (the  centaur). 

**v.  the  Volpi  edition,  n,  342,  note,  for  the  names  used  in  this  stanza:  he 
attempts  no  explanation  of  the  references. 


58  Luigi  Pulci  and  the  Animal  Kingdom 

xxvii_,  22 :  E  non  gli  aveva  Chirone  insegnato 

Tanto  che  basti,  ch'  ogni  scrima  e  invano. 

ClACCO. 

VIII,  81 :      Non  gittiam  qui  le  perle  in  booca  al  ciacco.     Matt. 
VII,  6.    Cf.  Dante,  Convivio  iv,  30. 
XIX,  64 :  Oia  di  buone  pere 

Mangiato  ha  '1  ciacco. 

Margutte's  remark  on  tbe  meal  be  has  just  devoured. 

132 :  O  broda  che  succiava  come  il  ciacco. 
MargTitte  again. 

CiGNO. 

XIV,  56 :  V.  p.  21. 

xxviii,  1 :  In  the  invocation  to  the  last  canto  Pulci  prays  that 

he  may  finish  like  the  swan  "  singing  sweetly." 

144 :  ]\Ia  io  non  so  s'  e'  si  son  corvi  o  cigni 
I  detrattori,  o  spiriti  maligni. 

Pulci  pays  his  respects  to  his  critics. 

CiNGHIALE. 

XIV,  78 :  V.  p.  9. 

XV,  104:  Among  Antea's  accomplishments: 

Portava  spesso  il  falcon  pellegrino, 
Feriva  a  caccia  lioni  e  cingliiali. 

XVII,  116 :  A  giant  compares  his  teeth  to  those  of  the  boar. 
XIX,  33-34 :  The  giants  Beltramo  and  Sperante  bring  in  their 
game — a  boar,  a  bear  and  a  dragon. 
XXV,  316 :  V.  Bale,  p.  33. 

CiVETTA. 

XIV,  61 :  V.  p.  13. 

xrx,  43:  v.  Half.   :Nro.  266. 

xxrv,  41 :  In  qua  e  in  la  far  la  civetta. 


Luigi  Pulci  and  the  Animal  Kingdom  59 

Avino  accuses  Gano  of  peering  about  like  an  owl  while  talking 
with  Bianciardino. 

97:  Malagigi  traps  a  giant  in  a  device  similar  t6  a  hoschetto 
or  bird-snare,  in  which  figure  the  civetta  and  scMamazzi — 
decoj-birds. 

141:  "Ma  tristo  a  quel  che  non  fa  la  civetta"  (i.  e.,  duck 
the  head)  in  order  to  escape  Ulivieri's  sword. 
XXV,  8 :  "  E  mostrogli  piu  volte  la  civetta " :  made  sign  of 
affirmation.  There  is  a  boys'  game  called  la  civetta  in  which 
the  players  bow  their  heads  to  avoid  the  knocking  off  of  their 
caps.    Cf.  Curto,  p.  130. 

COCCODRILLO. 

XIV,  82:  V.  p.  21. 

XIX,  68 :  V.  havalischio,  p.  46. 

108  ff. :  A  crocodile  attacks  Morgante,  having  come  up  out  of 
the  ISTile  to  where  he  is  walking  on  the  bank.  Margutte  cries 
"Che  fia,  coccodrillo?  Cotesto  e  troppo  gran  boccon  da  te." 
Morgante  inserts  the  bell-clapper  in  the  creature's  mouth  and 
it  bites  so  hard  that  its  teeth  become  fixed  in  it!  Morgante 
kills  the  crocodile  finally  and  throws  it  "  more  than  a  mile  out 
into  the  river." 

XXV,  90:  Crocodiles  are  among  Marsilio's  gifts. 
315 :  V.  Icneumone,  p.  34. 

XXVI,  48 :  Describing  the  armor  of  the  Pagans : 

Certe  pellacce  sopra  il  dosso  dure 
Di  pesci,  coccodrilli  e  di  serpenti. 

COLOMBA. 

V,  1 :  Pulci  invokes  the  Dove  in  which,  he  says,  God  descended 
to  earth  to  take  upon  Himself  human  form  in  Christ. 
VII,  26 :  Per  pigliar  due  colomhi  a  una  fava :  i.  e.,  "  to  kill  two 
birds  with  one  stone."  ^^ 

"  V.  rigogoletto,  p.  24,  for  another  version  of  this  proverb. 
5 


60  Luigi  Pulci  and  the  Animal  Kingdom 

VIII,  82 :  V.  Half.   l^o.  275. 
XIV,  48 :  V.  falco7ie,  p.  22. 

XXII,  133 :  V.  falcone,  p.  64. 

XXIII,  22  :  V.  cavallo,  p.  55. 

XXVII,  158:  The  soul  of  Orlando  returns  after  his  death  in  the 
form  of  a  dove  which  enters  his  body  through  his  mouth.  First 
seen  in  the  far  distance  it  seems  a  butterfly. 

CONIGLIO. 

II,  24 :  V.  cappone,  p.  52. 
XIV,  78 :  V.  p.  9. 

COBBO. 

V,  40':  Nero  com'  un  corbo. 

VI,  68 :  Corbacchion  di  campanile — a  person  firm  of  purpose 
or  stubborn  (Hoare). 

XIV,  54:  V.  p.  15. 

XVII,  91 :  V.  Half.  Ko.  259. 

XIX,  179 :  Morgante,  referring  to  a  muezzin  in  a  tower,  calls 
him  a  corbacchione. 

XX,  81 :  V.  Half.  No.  259. 

XXV,  64 :      Ma  perche  f ormicon  vecchio  e  di  sorbo, 

Che  non  isbuca  all'  accetta  o  al  martello, 
Tu  potresti  aspettar,  Marsilio,  il  corbo, 
Che  sai  ch'  egli  e  molto  malvagio  uccello. 

Here  the  corbo  whom  Marsilio  is  to  expect  is  Orlando.  As  is 
shown  by  the  preceding  proverb  of  the  ant,  the  meaning  is  the 
opposite  of  that  of  the  expression  "  aspettare  il  corbo  " — to 
wait  for  someone  who  does  not  come. 

328 :  V.  Corete,  p.  32. 

XXVI,  73 :  Finadusto  is  called  "  quel  corbacchion  nero." 

XXVII,  54:  Lucifero  avea  aperte  tante  bocehe, 

Che  pareva  quel  giorno  i  corbacchini 
All'  imbeceata,  e  trangugiava  a  ciocche 
L'anime  che  piovean  de'  Saracini. 


Luigi  Pvlci  and  the  Animal  Kingdom  61 

XXVIII,  14 :  The  fragments  of  Gano's  body  are  thrown  "  A'  lupi, 
a'  cani,  a'  corvi,  alle  cornacchie." 

130 :  Pulci,  speaking  of  the  end  of  his  labors,  says  he  shall 
steer  his  bark  no  farther,  nor,  like  Noah,  "  aspettar  che  ritorni 
a  me  il  corbo." 

144:  V.  cigno,  p.  58. 

CORNACCHIA. 

XIV,  54:  V.  p.  15. 
XXIV,  95  :  V,  cane,  p.  51. 

XXVII,  85 :    E'  si  vedea  cader  tante  eervella, 

Che  le  cornacchie  f aran  tafFerugia. 

V.  Hoare,  tafferuglio. 

XXVIII,  14:  V.  corbo,  above. 

Cuccio. 
XVI,  58 :       M'  ha  rimandato  in  drieto  come  un  cuccio. 
cf.  Ciriffo  Calvan£0,  v,  45,  "  rimesso  come  un  cuccio." 

Cucco. 
XIX,  141 :  Tu  se'  il  cucco  mio. 
XXIV,  103 :  Terigi  e  de'  Cristiani  il  cucco. 
XXVII,  58:  Rinaldo  era  il  cucco. 

Cucco — the  pet,   best-loved,   or   possibly   in  the  last  citation, 
simply  the  best.^^ 

Dalfino. 
XIV,  64:  V.  p.  11. 

XVI,  36 :       E  non  sarebbe  Leandro  d'Abido 
Portato  cosi  misero  e  meschino, 
Come  tu  sai,  fra  I'onde  gia,  Cupido, 
Appie  della  sua  donna  dal  dalfino; 
S'avessi  Antea  veduta. 

In  the  Epistolae  of  Ovid,  Hero  writes  to  Leander  that  she  has 
*  Diz.  della  Crusca,  s.  v.,  cucco. 


62  Luigi  Pulci  and  the  Animal  Kingdom 

dreamed  of  seeing  a  dolphin  die  on  the  beach,  which  she  takes 

as  an  omen  of  his  approaching  fate. 

xx^  37 :  E'  dalfin  si  vedieno, 

Ch'  alcun  talvolta  la  schiena  mostrava, 

E  tutto  il  prato  di  pecore  e  pieno. 

These  are  given  as  signs  of  an  approaching  storm. ^"^ 
40 :  Rinaldo,  threatening  to  throw  Scirocco  into  the  sea,  says : 

Tu  dei  saper  notar  com'  un  dalfino. 

Dano. 
XXVI,  124:  XXVII,  163:  v.  cavriuol,  p.  56. 

Dkagone. 
IV,  7  ff. :  Here  occurs  the  story  of  the  lion  which,  rescued  from 
the  dragon  by  the  knights,  acts  as  their  guide.  It  will  be 
treated  more  fully  later  under  the  heading  Lione  but  some 
details  regarding  the  dragon  should  be  noted  at  this  point.  It 
is  described  as  "  coperto  di  stran  cuoio  verde  e  giallo."  In 
Stanza  8  it  is  called  "  quel  serpente  maladetto,  Che  getta  fiamme 
per  bocca  ta'  dotte." 

(9)   II  drago  avvolta  gli  aveva  la  coda, 
E  presol  colla  bocca  e  cogli  artigli, 
Per  modo  tal  che  da  lui  non  si  snoda, 

Rinaldo's  sword  cannot  penetrate  its  back  because  it  is  harder 
than  fine  steel  (13).     It  is  called  "  crudel  vermo."  ^'^ 

32 :  A  giant  whom  Rinaldo  kills,  falls  on  him  and  his  steed 
as  the  elephant  falls  on  the  dragon  which  has  killed  it.-^ 
X,  141 :  V.  Half.  'Ho.  220. 

XIV,  81 :  V.  p.  10. 

XV,  32 :  The  fighting  knights  are  compared  to  dragons  and  lions. 

"•■Cf.  Dante,  Inf.,  xxn,  19-21. 

"  Dante,  Inf.,  xxxiv,  108,  refers  to  Satan  as  "  vermo  reo."     Cf.  angue, 
p.  44. 

»v.  p.  12. 


Luigi  Pulci  and  the  Animal  Kingdom  63 

XVII,  62 :  V.  Half.  No.  220. 

91:  A  Pagan's  armor  is  made  of  dragon's  skin. 
XIX,  34:  V.  cinghiale,  p.  58. 

38:  Riprese  meglio  il  drago  per  la  coda 
E  una  gran  dragata  die  a  Morgante. 

Sperante  uses  the  dead  dragon  as  a  weapon:  to  describe  the 
blow  he  deals  Morgante,  Pulci  coins  the  comic  word  dragata. 
XXI,  69 :  O,  XLviii,  25. 

XXV,  211:  V.  Baiardo,  p.  45. 

213:  A  destra  il  fiume  Bagi-ado  ha  trovato 

Dove  uccise  il  serpente  Attilio  o  '1  drago. 
Onde  e'  si  dice  ancor  tante  novelle, 
E  come  a  Roma  quel  mando  la  pelle. 

Pliny,  VIII,  37 :  "  Nota  est  in  Punicis  bellis  ad  flumen  Bagi-adam 
a  Regulo  [M.  Regulus  Atilius]  imperatore  ballistis  tormen- 
tisque  ut  oppidum  aliquod  expugnata  serpens  cxx  pedum  longi- 
tudinis.  pellis  eius  maxillaeque  usque  ad  bellum  Numantium 
duravere  Romae  in  templo." 
323 :  v.  p.  33. 

XXVI,  142:  v.  Half.  No.  220. 

XXVII,  95 :  Ibid. 

Deomedario. 
II,  39 :  Morgante,  boasting  of  the  feats  he  would  perform  in 
Hell,  says: 

E  BelzebCi  faro  fuggir  piu  via, 

Ch'  un  dromedario  non  andre'  in  Soria. 

XIV.  77:  V.  p.  14. 

XXV,  91,  127:  v.  cammeUa,  p.  50. 

DURAFORTE. 

XXVIII,  64 :  The  song  about  Carlo  Magno  which  Pulci  attributes 
to  "un  certo  citarista  Lattanzio "  (Stanza  53)  tells  of  this 
steed.^°    Apparently  he  belonged  to  TJggieri  il  Danese. 

''v.  note  in  Sermolli  cd. 


g4  Luigi  Pulci  and  the  Animal  Kingdom 

Ekmellino. 

II,  25 :  V.  Half.  N'o.  234. 
XIV,  80:  V.  p.  9. 

XXIV,  39 :  Orlando,  on  hearing  Gano's  lying  account  of  certain 
affairs,  exclaims :  "  O  Gan,  questo  ermellin  sara  poi  nero." 

Fagiano. 

III,  24 :  V.  cappone,  p.  52. 
XIV,  48:  V.  p.  14. 

XVIII,  123 :  V.  cappone,  p.  52. 

Falcone. 

IV,  55 :  Rinaldo,   joking   with   Ulivieri    about    his   love-affair 
with  Forisena,  says: 

II  falcone  ha  cavato  il  cappello, 

Non  so  se  starna  ha  veduto,  o  acceggia. 

Dante,  Par.  xix,  34 :  "  II  falcone  ha  levato  il  cappello."  *® 

VIII,  82:  V.  Half.  No.  256. 

IX,  47:  Ibid. 

X,  27 :  V.  gatto,  p.  66. 
109 :  falcon  peregrino. 

XI,  70:  V.  Half.  No.  256. 

XIV,  48:  V.  p.  22. 

XV,  104:  V,  cingMale,  p.  58. 

XVI,  64:  V.  Half.  No.  256. 

XXII,  133  :  Pareva  questo  giorno  lui  il  falcone 

E  peregrino,  e  non  parea  il  Colombo. 

The  peregrine  falcon  is  one  of  the  largest  and  swiftest  of  that 
species. 

XXIII,  22 :  V.  cavallo,  p.  55. 

XXV,  90 :  Among  Marsilio's  gifts  to  Carlo, 
xxvni,  137:  v.  oca,  p.  85. 

^\.  Morgante,  Camerini  ed.,  note  to  iv,  55. 


Luigi  Pulci  and  the  Animal  Kingdom  65 

Farfalla. 
IV,  2 :  Era  nel  tempo  cli'  ognun  s'innamora 

E  ch'  a  scherzar  comincian  le  farfalle. 

VI,  38 :  V.  Half.  No.  287. 

X,  59:  Rinaldo  asks  Erminione  tauntingly: 

Cavalier  villano, 
Che  di'  tu,  re  di  farfalle  o  di  pecchie  ? 

XXV,  332:  v.  p.  34. 

XXVII,  158 :  V.  colomha,  p.  GO. 

Formica. 

II,  55 :  The  fable  of  the  ant  and  the  horse's  skull,  which  occu- 
pies this  and  the  following  stanza,  Pulci  took  directly  from 
O,  IV,  15-19,  cutting  down  its  length  from  four  stanzas  to  two 
but  maintaining  its  essential  details  intact.  This  fable  is  told 
also  in  a  sonetio  caudato  ^^ ;  as  the  sonnet  is  of  the  same  period 
as  the  Orlando,  it  is  not  possible  to  say  whether  one  version  is 
derived  from  the  other,  or  both  from  another  source,  now 
unknown.  The^  sonnet  begins :  "  Andando  la  f ormicha  alia 
uentura."  The  fable  does  not  occur  elsewhere. 
XVI,  54:  formica  di  sorho:  this  same  expression  is  used  in 
XXV,  64 :  "  formicon  vecchio  e  di  sorbo  " — one  who  does  not 
come  out  for  everybody's  knocking,    v.  corho,  p.  60. 

Gallo. 

IX,  19 :  The  fable  of  the  cock  and  the  fox,  taken  from  O,  xiv, 
12-14.32 

XVIII,  148 :  Margutte's  boots  have  spurs  "  come  hanno  i  galli/' 
149 :  Morgante  asks  him:  "Saresti  tu  di  schiatta  di  galletto?" 

XIX,  2  :        Non  senton  cantar  galli,  o  abbaiar  cani. 

The  two  giants,  in  a  desert  country,  miss  the  domestic  sounds. 

^v.  McKenzie:    Note  sulle  antiche  favole  italiane,   p.  59  ff. 
^  This  familiar  fable  occurs  in  the  Caxton  JEsop,  Baldo,  Marie  de  France 
and  other  collections. 


66  Luigi  Pulci  and  the  Animal  Kingdom 

46 :  Qnesto  galleUo  gli  saltava  addosso, 

Che  par  che  sia  sopra  una  bica  un  polio. 

Margutte  springs  upon  Beltramo  after  having  thrown  him  to 
the  ground. 

Gatto. 
1,  67 :  V.  cane,  p.  50. 

III,  41 :        Dicea  f ra  se  sorridendo  Brunoro : 

A  Ercol  s'agguaglio  quel  ciuffo  '1  mosto, 
O  cavalier  di  gatta,  o  qualch'  araldo: 
E  ogni  cosa  intendeva  Rinaldo. 

Cavalier  di  gatta  appears  to  be  a  term  of  contempt. 

IV,  31 :  v.  Baiardo,  p.  44. 

X,  27:  E  far  pel  campo  variati  strumenti 

Per  Montalban  gatti,  grilli  e  falconi. 

The  gatti  and  grilli  were  shelters  for  besiegers,  the  falconi 
battering-rams  (Hoare). 
51 :  V.  Half.  N'o.  244. 
XIV,  79 :  V.  p.  15. 

XVIII,  122 :  jS'on  domandar  quel  ch'  io  so  far  d'un  dado, 

O  fiamma,  o  traversin,  testa  o  gattuccia. 

Margutte  boasts  of  his  skill  at  dice.  The  Tramater  and 
Tommaseo-Bellini  dictionaries  give  the  word  as  an  obsolete 
gambling  term  whose  meaning  is  lost. 

XIX,  127 :  Margutte,  in  the  kitchen,  "  parea  di  casa  piu  ch  '1 
gatto." 

XXI,  123 :  V.  Half.  ^o.  244. 

XXII,  91 :     Ma  per  tornar  si  spesso  al  lardo  il  gatto. 

La  penitenza  sua  non  ha  fuggita. 

This  proverb  occurs  also  in  O,  xix,  38 — not  the  corresponding 
passage. 

100:  Un  occhio  alia  padella,  uno  alia  gatta. 
xxv,  249:  v.  BoAardo,  p.  45. 
XXVI,  95 :  Gano  e  un  malvagio  gatto. 


Luigi  Pulci  and  the  Animal  Kingdom  67 

XXVII,  26,  33 :  v.  Half.  No.  244. 

XXVIII,  12  :  E  chi  gittava  la  gatta  e  chi  il  polio. 

Gano,  drawn  through  the  streets  of  Paris  on  a  car,  is  the  target 
for  dead  animals  thrown  by  the  enraged  populace. 

Gattomammone. 
XIV,  90 :  V.  p.  9. 
XIX,  42 :  V.  Half.  No.  230.33 

Ghiandaia. 
XIV,  52:  V.  p.  16. 

XXIV,  168:  V.  Half.  No.  260. 

Ghiro. 

XIII,  62 :  V.  Half.  No.  235. 

XIV,  '79 :  V.  p.  16. 

Giraffa. 

XXI,  142:  V.  Half.  No.  229. 

XXV,  90 :  Among  the  gifts  of  Marsilio. 
324:  V.  p.  34. 

GiRFALCO. 

XXV,  90 :  Gerfalcons  are  among  Marsilio's  gifts. 

GOZZIVAIO. 

XVI,  99 :       E  detto  questo  Baiardo  scostava, 

Poi  cogli  sproni  in  su'  fianchi  ferillo, 
In  modo  che  tre  lanci  egii  spiccava, 
Che  gozzivaio  non  parea  ma  grillo. 

The  Sermolli  edition  reads  the  last  line  "  Che  gozzivaio  non 
parea  ma  grillo"  and  defines  gozzivaio  (p.  348)  as  "specie 
d'animale  cosi  detto  dall'  avere  il  color  della  pelle  vaio  e  nereg- 
giante."  Hoare  gives  "  some  species  of  cricket."  Volpi  notes 
in  his  edition :  "  Chi  intende  per  gozzivaio  un  uccello,  chi  nn 
insetto."      At  least  two  other  editions  ^^  render  the  last  line 

**  Hoare  gives  the  etymology  of  mummone  as  from  Turkish  maimum. 
"  Venezia,  1784,  and  Milano,  1806. 


68  Luigi  Pulci  and  the  Animal  Kingdom 

"  Che  gozzivaio  non  parea  ne  grillo,"  which  seems  to  make 
better  sense,  if,  as  is  probable,  gozzivaio  means  some  sort  of 
insect.  Halfmann  (No.  289)  sajs  "Die  Grille  ist  das  Bild 
eines  nicht  hoch  springenden  Thieres,"  apparently  reading 
from  an  edition  which  has  ne  in  the  last  line,  and  citing  xxv, 
247,  "  Ma  cosi  alto  non  saltano  i  grilli  "  as  another  instance. 
It  seems  more  natural  to  associate  two  insects  here  and  to  com- 
pare their  small  leaps  with  the  long  jump  which  Baiardo  makes. 
Mai  for  ma  would  improve  the  sense  somewhat  in  xxv,  247. 

Oranchio. 
v^  55 :  Ulivieri  says  of  a  wild  man  "  Egli  e  nato  di  granchi" 
a  variation  of  the  popular  saying  "  piu  lunatico  dei  granchi."  ^^ 
xrx^  7:  xx,  50:  v.  halena,  p.  45. 
xxm,  30 :  v.  Half.  'No.  284. 
xxvi^  71 :  Ibid. 

141 :  E  Turpin  poi  non  veniva  segnando 

Col  granchio  in  man,  ma  colla  spada  segna. 

Volpi  interprets  granchio  as  cramp,  alluding  to  the  position  of 
the  Bishop's  hand  in  giving  the  Apostolic  blessing.^® 

Grifone. 

xi^  25:  Proper  name,  Grifon  d'Altafoglia. 
XIV,  61 :  v.  p.  14. 

XXI,  109 :  Here  occurs  the  story  of  the  combat  between  the 
griffin  and  the  serpent,  taken  from  O,  l^  9-19.  The  latter  has 
wound  its  tail  about  the  griffin's  neck  and  is  slowly  choking  it 
to  death.  Orlando  takes  pity  on  the  victim,  kills  the  snake  and 
releases  the  griffin  which  flies  away.  Four  lions  attack  Orlando ; 
he  kills  one  and  is  desperately  engaged  with  the  others  (HI) : 
the  griffin  returns  and  aids  him  by  blinding  one  of  them  (112)  ; 
Orlando  kills  another  and  the  griffin  accounts  for  the  last  one 
(113) :  they  allow  the  blind  lion  to  escape  (116),    Pulci  draws 


^  Diz.  delta  Crusca,  s.  v.,  granchio,  Xi. 
*«  Ed.  Morgante,  Vol.  in,  p.  338,  note. 


Luigi  Pulci  and  the  Animal  Kingdom  69 

a  moral  of  gratitude  from  this  episode  (114),  ending  witli  a 
reference  to  /Esop :  "'^ 

E  noti  ognun  la  favola  d'  Isopo 

Che  il  lion  ebbe  bisogno  d'  un  topo.^^ 

Grillo. 

X,  27 :  V.  gatto,  p.  66. 

xvi^  99 :       Che  gozzivaio  non  parea  ma  grillo. 

Cf.  gozzivaio,  above. 

xxii^  101:    Eispose  Gan:  Tu  hai  '1  capo  pien  di  grilli.^^ 

xxv,  247 :  v.  Baiardo,  p.  45. 

Grue. 
XIV,  50:  V.  p.  16. 

XXIV,  44:     Al  peccator  suol  ben  parer  I'un  due 

E  ch'ogni  mosea  sia  per  I'aria  un  grue. 

Similar  expressions  use  cavallo  and  leofante  instead  of  grue. 

"  Far  d'una  mosca  un  cavallo."  ^^ 

XXV,  225 :  v.  Baiardo,  p.  45. 

GUREO. 

XXV,  226:    Vedestu  mai,  letter,  di  salto  in  salto 

II  pesce  in  mar,  per  ischifare  il  gurro? 
Cosi  questo  caval. 

Halfmann  (No.  78)  takes  the  pesce  here  to  be  the  fljing-fish, 
though  the  leaping  from  the  water  when  pursued  is  characteris- 
tic of  other  fish  as  well.  The  Italian-French  dictionary  of  Vene- 
roni  gives  the  word  gurro  and  defines  simply  as  "  sorte  de 
poisson  " :  none  of  the  other  dictionaries  have  it. 

ISTRICE. 

Ill,  6 :  I  Saracin  di  lui  fanno  un  berzaglio, 

"v.  Hiibsolier,  p.  lxxx\'i,  H  115. 

*v.  McKenzie,  Italian  fables  in  verse,  p.  257;  Baist,  Der  DanJcbare  Lmce, 
p.  317.    V.  also  p.  76,  note  47. 

^^Dis.  della  Crusca,  s.  v.,  grillo,  ix. 

*"  Tommaseo-Bellini,  Diz.,  s.  v.,  mosca,  1:  13: 


70  Luigi  Pulci  and  the  Animal  Kingdom 

Di  dardi  e  lance,  ma  gettan  discosto 
Tanto,  che  quando  dov'  e  il  conte  venne, 
Tin  istrice  coperto  par  di  penne. 

XIV,  79:  V.  p.  16. 

Lampbeda. 
XIV,  79 :  V.  p.  14. 
XVIII,  127 :  E  ti  fare'  paura  una  lampreda 

In  quanti  modi  si  fanno  i  guazzetti. 

Volpi  interprets  this :  "  Ti  f arei  paura,  se  ti  dicessi  in  quanti 
modi  si  puo  cucinare  una  lampreda  in  guazzetto,  cioe  in 
umido,"  *^  wliicli  seems  to  fit  in  well  with  the  whole  passage  in 
which  Margutte  is  describing  the  delights  of  the  table. 

XXVII,  99 :    Terigi  era  rimaso  per  un  piede 

In  terra  avvilupato  in  certa  stretta, 
E  il  suo  sigiiore  Orlando  non  lo  vede, 
Si  che  nel  sangue  si  storce  e  gambetta, 
Che  pareva  un  tochetto  di  lamprede. 

The  squire  Terigi,  twisting  about  to  extricate  himself  from  the 
mire  of  the  battlefield,  is  compared  to  a  bundle  of  eels. 

xxviii,  42:  Sempre  i  giusti  son  primi  i  lacerati: 
lo  non  vo'  ragionar  piu  della  f ede ; 
Ch'io  me  ne  vo  poi  in  bocca  a  questi  frati. 
Dove  vanno  anche  spesso  le  lamprede. 

Pulci  had  apparently  been  censured  by  the  monks  for  some  of 
his  utterances  and  did  not  wish  to  give  them  occasion  for 
another  attack,  though  he  could  not  resist  the  fling  at  their 
fondness  for  delicacies.'*" 

Lasca. 
IX,  74:  V.  volpe,  p.  100. 

*'Vol.  II,  p.  198,  note. 

^'v.  Volpi's  note  on  this  stanza,  vol.  iii,  p.  456.  There  is  a  suggestion  in 
the  last  line  cited  here  of  Dante's  reference  to  Pope  Martin  IV  and  his 
fondness  for  eels.    Cf.  Purg.  xxiv,  20-24. 


Luigi  Pulci  and  the  Animal  Kingdom  71 

xiv^  68:  V.  p.  14. 

xxii^  8(5 :  V.  lontra,  p.  78. 

XXIII,  47 :  Poscia  per  pesci  lasclie  prese  all'  esca. 

The  knights  are  entertained  by  a  hermit  who  gives  them  louche 

for  their  meal. 

48 :  Lasciangli  come  il  bruco  in  snlle  frasche 
Rinaldo  e  Fiigliatto  insino  al  giorno, 
Che  a  questo  mode  smaltiran  le  lasche. 

Stanza  47  is  made  up  of  words  similar  in  sound,  two  pairs  to 
the  line:  Poscia  -  pesci,  lasche  -  I'esca.^^ 

Lattonzo. 
xxT,  24:  V.  capra,  p.  53. 

Leofajstte. 
IV,  32 :         E  poco  meno  e'  non  fe  com'  e'  suole 
II  drago,  quando  uccide  il  leofante. 

Rinaldo  narrowly  escapes  being  crushed  by  the  falling  giant 
as  the  dragon  is  crushed  by  the  elephant,    v.  p.  11,  drago. 
XIV,  73 :  V.  p.  10. 
81 :  V.  p.  12,  drago. 

XVI,  63 :       El'  elefante  si  poneva  a  bocca. 

Orlando  sounds  his  ivory  horn. 

XVII,  108:  Disse  Dombruno:  E'  non  va  pel  deserto 

Di  Barberia  si  possente  lione 

Ne  leofanti,  o  per  Libia  serpenti, 

Che  non  traessi  a  lor  come  a  me  i  denti. 

Orlando  had  knocked  out  three  of  Dombruno's  teeth  (102). 

XVIII,  161 :  Morgante  ando  a  trovare  un  pagliaio, 

Ed  appoggiossi  come  il  liofante. 

Morgante,  like  the  elephant,  sleeps  standing,   cf.  xix,  74  below. 
*^  V.  Sermolli  ed.,  p.  208,  note. 


72  Ltuigi  Pulci  and  the  Animal  Kingdom 

xix^  74:      lo  veggio  quivi  appoggiato,  Morgante, 
A  un  albero  un  certo  compagnone, 
Che  par  che  dorma,  e  non  muove  le  piante : 
Di  questo  non  faresti  tii  un  boccone. 
Morgante  guarda:  egli  era  un  liofante, 
Che  si  dormiva  a  sua  consolazione ; 
Ch'  era  gia  sera,  e  appoggiato  stava 
Come  si  dice,  e  col  grifo  russava. 

Morgante  cuts  the  tree  and  the  elephant  falls  to  the  ground 

(75)   cf.  Best.   Toec.  No.   42:  he  kills  it    (76)    and  he  and 

Margutte  prepare  a  fire  to  roast  it.     While  Margutte  is  gone 

after  water,  Morgante  eats  the  entire  animal  (82). 

XX,  80 :  The  soldiers  of  the  Amostante  all  have  armor  made  of 

osso  d'elefante  and  he,  like  Rinaldo,  bears  a  lion  on  his  shield. 

O,  XLV^  15. 

XXV,  89  :  "  Un  dente  d'elefante  smisurato  "  is  one  of  Marsilio's 

gifts. 

312 :  V.  Rinoceronte,  p.  38. 

316:  V.  Bale,  p.  33. 

Leopakdo. 

V,  28:  V.  Half.  ^o.  221. 

VI,  32:  Ibid. 

X,  50 :  Ibid. 

XI,  98:  Ibid. 
XIV,  75:  V.  p.  11. 

XXV,  52 :  V.  cavallo,  p.  57. 

90 :  Among  Marsilio's  gifts  are  alepardi^* 

224 :  V.  Baiardo,  p.  45. 
XXVII,   175 :  Pulci,   speaking  of  his  method  of  procedure  in 
composing  his  poem,  says: 

lo  me  n'andro  con  un  mio  carro  a  vela, 
E  giugnero  le  lepre  e'  leopardi, 
Che  in  picciol  tempo  la  fama  si  cela 
Degli  scrittor,  quando  e'  son  pur  bugiardi. 

"  Tramater,  Diz.,  gives  this  form  for  leopardo. 


Luigi  Pulci  and  the  Animal  Kingdom  73 

There  is  a  popular  expression  "  To  take  the  hare  in  the  cart," 
meaning  "  to  proceed  cautiously  "  (v.  Hoare — carro) :  the 
leopard  is  added  here,  probahly  as  a  rhyme-word.  Pulci  often 
supplements  well-known  expressions  in  this  way;  cf.  asino, 
XVIII,  129,  p.  42. 

Lepre. 
II,  24 :  V.  cappone,  p.  52. 
XI,  72 :  V.  cane,  p.  51. 

116:  V.  veltro,  p.  99. 
XIV,  77:  V.  p.  16. 

XXI,  146:  V.  Half.  ^o.  239. 

XXII,  101 :  Deh  fa  che  questa  lepre  balzi  fuora. 

Astolfo  urges  Malagigi  to  use  his  art  to  make  Gano  disclose 
himself. 

155  :  Gano  is  besieged: 

E  stanno  tutti  co'  cani  alle  poste, 
Ognun  vuol  questra  lepre.  :  .  . 

XXVII,  95 :  E  poi  trovo  nella  zuffa  Fidasso 

Che  faceva  il  leprone  e'l  piccinaco 
Tra  gente  e  gente, 

that  is,  he  mad©  himself  as  inconspicuous  as  possible  and  dodged 
about  like  a  young  hare. 
175 :  V.  leopardoj  p.  72. 

Levrieke. 
V,  48:  v.  Half.  Ko.  243. 
VIII,  73:  Ibid. 

XXI,  36 :  Ibid. 

XXII,  155:  E  non  si  curan  pertica  o  levriere. 

Gano's  pursuers  need  neither  pole  to  drive  him  out  of  his  retreat 
nor  greyhound  to  catch  him.  Levriere  is  synonymous  with 
veltro. 

LlOCORNO. 

XIV,  75:  V.  p.  12. 


74  Lfuigi  Pulci  and  the  Animal  Kingdom 

xviii^  188:  V.  canvmella,  p.  49. 

xix^  63 :  Margutte,  reproaching  Morgante  for  having  drunk 
more  than  his  sha,re  of  the  wine,  recalls  that  he  got  only  the 
torso  of  the  unicorn. 

LlONE. 

iv^  7:  Rinaldo,  TJlivieri  and  Dodone,  in  search  of  Orlando, 
come  upon  a  lion  fighting  with  a  dragon  in  the  forest.  Rinaldo 
takes  pity  on  the  lion  (10),  attacks  the  dragon  and  kills  it  (15). 
The  lion  shows  its  gratitude  by  licking  Rinaldo's  horse  (16). 
Rinaldo  prays  the  Virgin  to  make  the  lion  his  guide  and  the 
lion,  as  if  it  understood,  goes  forward  and  leads  him  to  Dodone 
and  Ulivieri,  whose  terrified  horses  had  run  away  with  them. 
They  are  afraid  of  the  lion  at  first  hut  Rinaldo  reassures  them. 
The  lion  continues  to  show  them  the  road  (26,  38).  Arrived 
at  the  kingdom  of  Corbante,  the  Saracens  marvel  at  the  lion 
(49).  Rinaldo  announces  himself  as  the  "Warrior  of  the 
Lion"  (50).  Going  out  to  slay  the  beast  which  demands  the 
life  of  Forisena,  the  king's  daughter,  the  lion  accompanies 
him  (59).  The  lion  leads  the  way  to  the  serpent  (62).  During 
the  terrible  battle  which  follows  it  takes  no  active  part: 

(69)   Ma  quel  lion,  ch'  egli  avevan  menato, 
Si  stette  sempre  di  mezzo  a  vedere, 
Perche  se  fussi  da  alcun  domandato 
Di  questo  fatto,  il  voleva  sapere. 

Corbante  calls  the  attention  of  Caradoro's  messenger  to  the  lion 
(v,  14)  from  which  Rinaldo  has  taken  his  title.  When  they 
depart  the  lion  still  leads  them  (36).  It,  together  with  the 
horses,  becomes  aware  of  the  wild  man  before  the  knights  see 
him  (37)  .  Rinaldo  says  the  lion  has  not  been  a  good  guide 
to  bring  them  to  the  wild  man's  den  (56)  :  they  still  confide  in 
its  guidance,  however  (66).  When  they  enter  the  city  of 
Corbante,  the  populace  flee  before  the  lion  (vi,  6).  Orlando, 
hearinjT  that  the  knights  have  come,  thinks  first  that  they  must 
be  Rinaldo  and  his  friends,  but  is  puzzled  by  the  lion  accom- 
panying them  (25).    He  fails  to  recognize  Rinaldo  when  they 


Luigi  Pulci  and  the  Animal  Kingdom  75 

meet  in  arms,  and  reproaches  him  for  keeping  a  wild  beast  with 
him  (34).  Rinaldo  replies  that  the  animal  is  harmless  (35). 
He  binds  it  in  order  that  it  may  not  aid  him  in  the  combat 
(40),  telling  Orlando  he  can  now  say  no  more  against  it  (41). 
In  the  midst  of  the  battle  which  follows,  the  lion  breaks  its 
rope  (45)  and  comes  to  Rinaldo:  Orlando  accuses  him  of 
treachery  and  he  in  reply,  asks  for  time  to  take  the  animal 
away;  Orlando  replies  scornfully  that  Morgante's  bell-clapper 
would  soon  dispose  of  it  (47)  ;  they  agree,  however,  to  a  truce 
until  the  next  day  (48).  On  the  way  back  to  his  tent  Orlando 
curses  the  lion  and  hewails  the  fact  that  he  has  Rondello  instead 
of  Vegliantino,  Ms  own  horse  (49).  He  still  wonders  about 
the  lion  (vii^  5).  Wliile  the  knights  are  returning  to  France 
the  lion  deserts  them  (ix,  14).  Rinaldo  thinks  this  a  miracle 
of  God  for  some  good  end  (15)  but  Orlando  says: 

(16)   Lascialo  andar  colla  buona  ventura, 

Che  '1  suo  partir  piii  che  '1  venir  m'  e  caro, 
Che  molte  volte  m'  ha  fatto  paura. 

The  story  of  the  grateful  lion  acting  as  guide  to  the  knights,  is 
told  in  O,  VII,  8  If.  Pulci  has  varied  some  details  but  in 
general  the  tale  is  practically  the  same  in  both  poems.  In  the 
Orlando  the  lion  and  dragon  are  not  fighting  when  discovered : 
Ulivieri  and  Dodone  are  carried  off  bv  their  terrified  horses 
sooner  than  in  the  M organic:  when  they  return,  they  find 
Orlando,  lying  wounded  on  the  ground.  He  recovers  and  the 
lion  leads  them.  From  this  point  on  the  correspondence  is 
fairly  close  to  the  end.  The  ''  grateful  lion  "  story  is  a  com- 
monplace of  the  romances  of  chivalry:  Chretien  de  Troyes 
employs  it  in  Le  Chevalier  au  Lion:  ^^  in  the  Reali  di  Francia, 
Lib.  II,  Cap.  XLViii,  a  lion  acts  as  guide  to  Drusolina.** 
Numerous  other  versions  of  the  tale  also  exist.  Its  original 
was  perhaps,  at  least  as  far  as  the  element  of  gratitude  was 

'''v.  Sermolli  cd.  note,  p.  81;  Forster,  Yvain. 
«  Ed.  Vanelli,  ii,  Pt.  2,  p.  200. 


76  Luigi  Pulci  and  the  Animal  Kingdom 

concerned,  the  Androcles  story  related  by  Aulus  Gellius  and 
retold  in  the  literature  of  the  whole  world  since.*'^ 
V,  48:  lioncin,  v.  Half.  ISTo.  217. 

IX,  5 ;  Carlo  mugghiando  per  la  mastra  sala 

Com'  nn  lion  famelico  arrabbiato 
N'e  va.  .  .  . 

X,  89:  V.  Half.  No.  217. 

112-115:  A  lion  brings  a  letter  from  Malagigi  to  Orlando 
and  disappears  after  having  delivered  it.     O,  xviii,  23-24. 

XI,  98 :  jSTon  e  lion  si  presto  o  liopardo.    Cf.  leopardo,  above. 
104:  lion  famelico,  cf.  ix,  5,  above. 

xvL,  4:4:'.  Rinaldo,  in  love  with  Antea,  tries  to  turn  aside 
Orlando's  efforts  to  get  him  to  leave  the  court  by  recounting  a 
dream  in  which  he  was  assailed  by  a  lion  and  from  which 
Orlando  awakened  him  just  in  time  to  save  his  life.    O,  :xxi,  36. 

107 :  The  same  dream  recurs  to  Rinaldo. 
XVII,  108 :  V.  leofante,  p.  71. 
xviii,  63:  V.  Half.  No.  217. 

XIX,  6:  Morgante  kills  a  lion  which  is  guarding  a  lady  in 
chains. 

40 :  Morgante  and  Sperante  embrace,  in  fighting,  "  Com'  i 
lion  s'abbraccian  co'  serpenti." 

121 :  The  lady  tells  of  her  lion  guard. 
155:  Pulci,  speaking  of  Margutte,  says: 

E  furon  le  sue  opre  e  le  sue  colpe 
Non  creder  leonine,  ma  di  volpe.^* 

XX,  26 :  Rinaldo's  arms — a  lion  in  a  black  field.     O,  xliii,  40. 
62 :  Rinaldo  displays  his  standard. 

*"  V.  Baist,  Der  Dankbare  Lime;  McKenzie,  TJnpuhlished  Manuscripts  of 
Italian  Bestiaries ;  Johnston,  O.  M.,  The  Episode  of  Yvain,  the  Lion  and 
the  Serpent  in  Chretien  de  Troyes;  Pillet,  A.,  Ein  Ungedrucktes  Gedicht 
des  Troubadours  Guillem  Magret  und  die  Saga  von  Golfier  de  las  Tors; 
G-McK.,  pp.  82,  96;  Thomas,  Encore  Goufier  de  Lastours  in  Romania,  XL, 
446;  McKenzie,  Italian  Fables  in  Verse,  p.  277. 

**  Imitation  of  Dante,  Inf.,  xxvii,  75  "  L'opre  mie  Non  furon  leonine,  ma 
di  volpe." 


Luigi  Pulci  and  the  Animal  Kingdom  77 

80:  Leopante  also  lias  a  lion  on  his  shield. 
xxi^  25 :  Creonta's  castle  has  a  lion  at  every  door.   O,  xlvii^  11. 
29-30:  Rinaldo  kills  one  of  them. 
31 :  Aldinghieri  also  kills  one. 

32 :  The  third  lion  comes  and  kneels  before  Orlando. 
33 :  It  rises  and  leads  the  knights. 
Ill:  V.  grifone,  p,  68. 

XXII,  57:  Diliante  tells  Orlando  that  a  white  lion,  which  he 
had  reared,  has  left  him  and  now  creates  havoc  among  his 
people.  Rinaldo  vows  to  kill  it  (59).  He  goes  to  the  thicket 
where  it  lies  concealed  (60)  :  it  attacks  Baiardo  first,  then 
seizes  Rinaldo  (61) :  he  finally  overcomes  it,  after  a  long 
struggle  (63).     O,  liii,  21. 

112 :  Carlo  dreams  that  a  lion  enters  Paris  and  causes  great 
damage.     O,  liv,  30. 

121 :  Sempre  chi  piglia  i  lioni  in  assenzia, 

Vedrai  che  teme  d'un  topo  in  presenzia. 

XXIII,  16 :  V.  cavallo,  p.  54. 

52 :  Stanzas  49-54  constitute  a  sort  of  apocalypse,  predicting 
the  defeat  of  Roncisvalle,  with  its  accompanying  disturbances 
of  Nature.     Stanza  52  begins: 

Veggo  i  lioni  uscir  delle  spelonche, 
E  tigri,  e  I'altre  fiere  aspre  arrabbiate. 

XXV,  8"9 :  Among  Marsilio's  gifts  are : 

Due  selvaggi  lion  fuor  di  misura, 
Che  a  ognun  fanno  a  vedergli  paura, 
299 :  E  la  reina  la  notte  ha  sognato, 

Che  un  gran  lion  la  sua  casa  conturba: 
E  non  sapea  ch  '1  lion  era  presso, 
Cioe  che  quel  di  Rinaldo  era  desso. 

Another  of  the  numerous  instances  in  which  a  dream  of  a  lion 
foretells  disaster. 

313:  V.  Leucrocuta,  p.  36. 

319 :  V.  Liontofono,  p.  36. 


78  Luigi  Pulci  and  the  Animal  Kingdom 

xxvi^  4:  V.  cerviere^  p.  57. 

35 :  We  should  trust  in  Christ,  who  saved  Daniel  from  the 
lions. 

124:  V.  cavriuol,  p.  56. 
XXVII,  71 :  The  uneasiness  of  Marsilio  at  not  receiving  news 
of  Zambuger  is  compared  to  that  of  a  lion  in  a  cage. 

LONTEA. 

XIV,  79:  V.  p.  10. 

XXII,  86 :      Diliante  rimase  stupefatto, 

E  fece  sopra  cio  piii  d'un  concetto, 

Come  piij  netto  riuscissi  il  tratto, 

Che  rimanessi  alia  lasca  la  lontra, 

Che  cio,  che  Gan  gli  ha  detto,  si  riscontra. 

A  comparison  of  this  passage  with  xiv,  79,  brings  out  the  fact 
that  the  idea  expressed  is  that  of  patience:  the  otter  occupies 
itself  with  fishing  and  the  cat  patiently  watches  the  mouse-hole, 
"  Tanto  che  netto  riuscissi  il  tratto,"  the  same  expression  used 
here  to  describe  the  otter  watching  for  roach.  Diliante  applies 
it  to  the  treacherous  story  which  Gano  has  been  telling  him. 

LUCCIOLA. 

Ill,  6 :  Morgante,  laying  about  him  with  the  bell-clapper,  "  fa 
veder  piii  lucciole  ch'  agosto  " :  that  is,  he  makes  the  Saracens 
"  see  stars  "  (or  it  may  refer  to  the  sparks  which  fly  off  from 
the  blows  on  their  armor). 

XXIII,  34:  Einaldo  non  istette  a  pigliar  lucciole;  i.e.,  lost  no 
time. 

XXIV,  94 :  The  wild  man  "  Si  vede  or  si  or  no  come  la  lucciola." 

LUMACA. 

XVIII,  141 :  Dovunque  io  vo,  lasciarvi  il  segno  soglio, 
Come  fa  la  lumaca,  e  nol  nascondo. 

Lupo. 

II,  72 :  V.  Half.  IsTo.  64.     O,  iv,  33. 

III,  48 :  Rinaldo  eats  like  a  hungi-y  wolf.    O,  vi,  3. 
VII,  46:  V.  capra,  p.  52.     O,  xv,  18. 


Luigi  Pulci  and  the  Animal  Kingdom  79 

IX,  73:  V.  volpe,  p.  100. 
XI,  99:  V.  Half.  No.  225. 
lOG:  Ibid. 

XIII,  52:  V,  cane,  p.  51. 

XIV,  Tf):  V.  p.  10. 

XXII,  30 :  Che  il  lupo  voglia  andar  per  pellegrino. 
Astolfo  is  lamenting-  the  fact  that  Ulivieri  and  Orlando  still 
have  faith  in  Ganelon.^''  The  idea  of  hypocritical  repentance, 
pilgrimage,  taking  of  Orders  and  other  religious  acts  has  been 
associated  chiefly  with  two  animals,  the  fox  and  the  wolf.  Both 
are  used  as  types  of  craft,  and  the  cloaking  of  their  sins  under 
the  mantle  of  religion  serves  to  heighten  the  desired  effect. 
Isengrin,  the  wolf,  turns  monk.^°  Reynard,  the  fox,  goes  on  a 
pilgrimage,  or  at  least  begins  one.^^  It  is  interesting  to  note 
that  in  the  Italian  poem  Rainardo  e  Lesengrino  ^^  the  wolf  goes, 
disguised  as  a  pilgrim,  to  divide  the  gi-ain  for  the  fox  and  the 
goat  ^^ :  it  is  possible  that  Pulci  was  familiar  with  some  version 
of  this  poem,  but  in  any  case,  the  idea  had  become  familiar  in 
tradition. 

100 :  Questo  e  pur  lupo  della  nostra  torma. 

Again  referring  to  Gano,  Orlando  brands  him  as  a  traitor. 
XXIV,  20 :     II  lupo  vuol  far  pace  coll'  agnello. 

166:  O  Carlo,  a  questa  volta,  o  Carlo,  io  temo 
Che  al  rimedio  del  mal  tarde  venisti, 
Perche  tu  ovem  lupo  commisisti. 

There  is  an  important  variation  in  the  text  at  this  point:  the 
Venezia,  1784,  and  Milano,  1806,  editions,  and  Volpi,  follow- 
ing them,  have : 

"  Here  the  lupo. 

«'v.  Willems,  Etude  siir  VTsengrinus :  Foulet,  Le  Roman  de  Rcnard, 
Ch.  xm,  Isengrin  Moinr. 

^  V.  Sudre,  Les  Sources  du  Roman  de  Benart,  Ch.  m,  Renart  et  le  Loup. 

^v.  Sudre,  op.  cit.,  p.  90. 

53 cf.  Roman  de  Renart,  ed.  Martin,  n,  376,  lines  699-700:  "Or  sen  va 
Lesengrino,  Come  fose  un  pelegrino."  For  bibliography  of  the  poem  v. 
Todt,  Die  Franco-Italienische  Renartbranchcn. 


80  Luigi  Pulci  and  the  Animal  Kingdom 

O  Carlo,  a  questa  volta,  o  Carlo,  io  temo 
Che  AmAce,  non  sia  detto,  ad  quid  venisti? 
Eiicordati,  ovem  lupo  commisisti; 

making,  as  Volpi  notes,  the  first  citation  the  words  of  Christ  to 
Judas,  Matt,  xxvi,  50.     The  second  quotation,  as  is  noted  also 
by  Volpi,  is  from  the  Eunuclius  of  Terence;  v^  1:  16. 
sxv,  271:  The  being  at  the  enchanted  fountain  is  described; 

Ed  aresti  giurato 
Che  fusse  un  santo  e  devoto  eremito, 
Con  un  baston,  con  un  viso  intagliato, 
La  barba,  i  paternostri,  col  mantello 
Di  frate  Lupo,  ma  parea  d'agnello. 

The  wolf  as  monk  or  pilgrim  has  already  been  noted. 

278 :  Ti  mettera  la  coda  in  qualche  cerro. 

A  reference  to  the  fable  incidents  of  animals  getting  various 
parts  of  their  anatomy  caught  in  traps,  for  instance,  in  the  cleft 
of  a  tree  or  log.  The  wolf  which  gets  its  tail  frozen  in  the  ice 
while  fishing  at  the  suggestion  of  the  fox  is  not  raentioned 
here.^* 

299 :  A  wolf  comes  into  the  city  of  Queen  Blanda,  which  is 
taken  as  a  bad  omen: 

Che  non  sanza  cagion  lupo  s'inurba. 

312 :  V.  Crocuta,  p.  33. 

319 :  V.  lAcaon,  p.  36. 
xxvii^  70:  V.  cavallo,  p.  55. 
xxviii^  14:  V.  corbo,  p.  61. 

73 :  "  Lupo,  II  duca  di  Guascogna."  The  events  told  in  this 
stanza  took  place  in  769,  when  Hunald,  Dlike  of  Aquitaine, 
was  pursued  into  Gascony  by  Charlemagne  and  was  surren- 
dered to  the  emperor  by  Loup,  Duke  of  Gascony.^^ 

"  V.  McKenzie,  An  Italian  Fable. 

*^  La  Grande  Encyclopedic,  s.  v.,  Gascogne,  pt.  4. 


Luigi  Pulci  and  the  Animal  Kingdom  81 

LUSIGNUOL. 

I,  3 :  Era  nel  tempo,  qiiando  Filomena 

Oolla  sorella  si  lamenta  e  plora ; 

that  is,  in  the  sprin^ime,  when  the  nightingales  sing.     The 
reference  is  to  the  well-known  classic  myth  of  the  turning  of 
Philomela  into  a  nightingale.^^    It  is  referred  to  again  in  xix, 
10 :  "  Pensando  come  e'  fii  gia  Filomena." 
xiv^  58:  V.  p.  16. 

XIX,  10:  The  lady  who  is  found  by  jVIorgante  and  Margutte  in 
the  forest,  tells  how  she  wandered  away  from  her  father's 
castle  ^^  on  the  Mle  while  listening  to  a  nightingale  and  was 
captured  by  the  giants.  Later  they  find  the  place  and  she  is 
reunited  with  her  father  (112). 

131 :  Poi  rimbeccava  un  tratto  il  lusignuolo. 

This  line  occurs  in  the  midst  of  an  account  of  Margutte's 
nightly  performances — how  he  kept  food  and  drink  always  at 
his  bedside,  diverted  himself  otherwise  for  a  time  and  then 
returned  to  his  eating  again. 

Maesia. 
xxvii^  175 :  Pulci  compares  certain  presumptuous  writers  to 
the   satyr    Marsyas,    who   was   flayed    alive   for   having  been 
defeated  in  a  musical  contest  with  Apollo. ^^ 

Masting. 

Ill,  46 :  V.  Baiardo,  p.  44. 

xxi^  38 :  Orlando  says  to  a  Saracen,  who  has  seized  TJlivieri : 

Tu  non  credivi  forse, 
Che  fusse  presso  il  guardian  ne  il  mastino. 

The  word  mastino  is  used  sometimes  alone,  as  here,  and  some- 
times with  cane  or  can. 

^«v.  Ovid,  Met,  vi,  601  ff.;  Dante,  Pwrg.,  xvn,  19-21. 
^'  The  father's  name  is  Filomeno. 
^v.  SermoUi  ed.  note. 


82  Luigi  Pulci  and  the  Animal  Kingdom 

Mattafellone. 

51^  38:  Tlie    name    of    Ganelon's    steed    is    taken    from    the 
Orlando.^^    It  is  mentioend  again  in  xx,  13,  and  xxii,  191. 

/ 
Merla. 

xiv^  58:  V.  p.  14, 

xxii^  11:  V.  sparviere,  p.  94. 

Miccio. 

II,  41 :  Two  messengers  are  clubbing  each  other  as  though  they 

were  donkeys. 

XXI,  92 :  Donkeys  and  clubs  are  again  associated. 

MlGlSTATTA. 

XXIV,  143 :  E  cosi  fecion  queste  bestie  matte 

I  tafani  ingrassare  e  le  mignatte. 

XXV,  4:  Gano,  in  embracing  Ulivieri,  attaches  himself  to  him 
like  a  leech. 

Minosse. 
II,  38 :         E  taglierai  la  coda  a  quel  Minosse.^^" 
XX,  79 :  The  King  of  Morocco  is  compared  in  appearance  to 
Minos. 

XXIV,  113:  Pulci  says  that  he  has  seen  enchanted  things  and 
has  told  of  them  and  that  therefore  he  must  answer  for  it  to 
Minos.6« 

XXVI,  90:  The  joy  of  the  rulers  of  Hell  at  the  arrival  of  so 
many  Pagans  on  the  day  of  Eoncisvalle  is  pictured. 

Montone. 
XXIV,  20':     E  statico  il  monton  sia  dato  e'  cani. 
E  tu  sarai  quel  desso  e'  tuoi  Pagani. 

S9it  occurs  in  O,  xx,  32. 

=^»»  Minos'  metliod  of  indicating  the  region  of  Hell  to  which  a  sinner  was 
to  be  consigned  was  by  twining  his  tail  about  his  body  3,  certain  number  of 
times. 

*°  cf.  Inferno,  V.  Minos  is  stationed  at  the  entrance  of  the  second  circle 
and  judges  those  who  pass  him. 


Luigi  Pulci  and  the  Animal  Kingdom  83 

The  Venezia,  1784,  and  Milano,  180G,  editions  have  e  i  cani: 
Volpi  gives  a  cani.  Gano  is  writing  to  Marsilio  and  in  the  first 
lines  of  the  stanza  he  tells  him  he  is  like  one  v^^ho,  in  playing 
chess,  is  never  satisfied  with  his  good  move  but  seeks  another, 
or  like  the  wolf  who  wishes  to  make  peace  with  the  lamb. 
Volpi's  reading  "  the  ram  given  as  hostage  to  the  dogs  "  means 
a  hostage  so  much  more  powerful  than  those  to  whom  he  is 
given  as  to  be  able  to  escape  easily.  The  other  indicates 
Marsilio  and  the  Pagans  as  the  ram  and  the  dogs  given  as 
hostages. 

MOSCA. 

Ill,  5 :  A  chi  cacciava  di  capo  la  mosca;  i.  e.,  gave  him  a 
tremendous  blow  on  the  head.^^ 

XI,  12  :         Dice  Rinaldo :  Ig-nun  non  mi  s'accosti, 
Che  gli  parra  che  le  mosche  gli  arrosti. 

XIII,  52:  Ne  anco  i  calci  suoi  paion  di  mosche:  said  of  the 
wild  horse. 

XIV,  51 :  V.  nihhiOj  p.  17. 

XVII,  123 :  Qui  non  si  posan  le  mosche  d'intorno. 

Pulci  puts  this  comic  line  in  the  middle  of  a  stanza  describing 

the  battle  between  Orlando  and  Salicorno. 

XXII,  118:  V.  asino,  p.  42. 

XXIII,  38 :  Rinaldo  swings  his  sword  in  a  circle  a  mosca  cieca — 
blindly,  without  any  definite  aim.  The  game  of  blindman's 
buff  bears  this  name.     Cf.  Curto,  p.  131. 

XXIV,  44 :  V.  f/rwe,  p.  69. 

59  :  Oh'  e'  levera  la  mosca  di  leggieri. 
This  appears  to  be  an  expression  similar  to  the  one  using 
moscherino  in  xx,   140    (q.   v.  below)    and  meaning  '*  to  get 
angry  " ;  or  it  might  be  related  to  iii,  5. 

97:  mosca  culaia;  species  of  horsefly  (Hoare). 
xxv,  69 :      Mort'  io,  morta  una  mosca  in  Puglia. 

"cf.  McKenzie,  Italian  Fables  in  Verse,  p.  27    (Fable  of  fly  and  bald 
man) . 


84  Luigi  Pulci  and  the  Animal  Kingdom 

The  flies  of  Apulia  are  mentioned  again  in  332.  v.  farfalla, 
p.  34. 

xxviii^  142 :  Pulci,  apologizing  for  some  of  the  extravagances 
of  Morgante,  says : 

Si  ch'  io  ho  fatto  con  altro  battaglio 
A  mosca  cieca,  o  talvolta  a  sonaglio, 

MOSCHEEINO. 

XX,  40 :  Gli  monto  in  sul  naso  il  moscherino :  i.  e.,  his  wrath 
arose. 

MOSCIONE. 

xiXj  63 :       Se  fussin  come  te  fatti  i  moscioni, 
E'  non  bisognere'  botte  ne  tino. 

The  moscione  is  .  a  species  of  midge  which  appears  in  great 
numbers  about  the  vats  in  wine-making  time.  Margutte 
exclaims  to  Morgante  that  if  they  all  drank  as  he  does  there 
would  be  no  need  for  casks  or  vats. 

MULACCHIA. 

XIV,  54:  V.  p.  lY. 

XXII,  62 :      II  popol  tutto  a  vederlo  e  ridotto, 

E  son  di  Saracin  pien  gli  arbuscelli, 
Tal  che  parevon  mulacchie  o  stornelli. 

NiBBIO. 

XIV,  51 :  V.  p.  17. 

XXV,  108 :    Che  se  le  cose  si  f aranno  a  tempo, 

Gli  uomini  son  sanza  arme  come  nibhi. 

Gano  writes  to  Marsilio  that  by  acting  in  time  the  Christian 
army  can  be  captured  come  nibhi. 

!N'iccHio. 
X,  148:  Che  quel  Verguto  si  faceva  un  nicchio;  that  is,  he 
curled  himself  up  like  a  shell.    The  nicchio  is  a  mussel,  but  the 
name  is  also  applied  to  other  shells  of  various  shapes  (Hoare). 
XIV,  66:  V.  p.  14. 


Luigi  Pulci  and  the  Animal  Kingdom  85 

XVI,  100 :  Orlando,  from  the  pain  of  a  blow  received,  "  si  fece 
un  nicchio." 

Oca. 
XI,  9 :  Tu  hai  talvolta  men  cervel  eh'  un  oca. 

A  saying  which  has  come  down  to  our  own  day. 
XIV,  50,  55 :  v.  p.  17. 

XVIII,  131 :  S'  io  ho  tenute  dell'  oclie  in  pastura 
]N^on  domandar. 

This  is  part  of  Margiitte's  description  of  himself.  The  popular 
expression,  "  tener  le  oche  in  pastura  "  means  to  have  nothing 
to  do.    cf.  Driadeo,  ii,  10. 

XXI,  59:  V.  Half.  Xo.  271. 
68 :  V.  hue,  p.  48. 

XXII,  201 :  E  son  piii  di  mille  oclie  in  su  'n  un  torso. 
Sermolli :  "  Cioe  e'  sono  in  molti  a  perseguitare  un  solo,  o  pure 
sono  infinite  a  -\'ivere  alle  spalle  d'un  solo,"  with  which  Half- 
mann  agrees  (jSTo.  271). 

XXV,  331 :  V.  Porfirio,  p.  38. 

XXVIII,  137:  Portin  certi  uccellacci  un  sasso  in  bocca, 
Come  quell'  oche  al  monte  Taureo, 
Per  non  gracchiar,  che  poi  il  falcon  le  tocca. 

Orso. 

IV,  27:  Furioso  piii  ch'  orso.    O,  vii,  25.    v.  Half.  Xo.  223. 

V,  39  :  The  wild  man  has  a  head  like  a  bear's.^^ 

43:  He  tears  through  branches  and  brambles  like  a  bear 
worried  by  dogs. 
VII,  42 :  V.  Half.  No.  223. 

XIII,  62:  The  knights,   making  sport  of  a   Saracen  who  has 
climbed  a  tree,  compare  him  to  a  young  bear  (orsacchino) . 

XIV,  76 :  V.  p.  10. 

xvii,  85 :     Che  mai  non  furio  si  tigrc  o  orso. 

XIX,  23:  The  lady  found  by  the  giants  in  the  forest,  after 

asking  the  whereabouts  of  her  home  and  friends  in  two  stanzas, 

"  V.  Neri,  La  Maschera  del  Selvaggio  in  G-ior.  Stor.,  ux,  47. 


86  Luigi  Pulci  and  the  Animal  Kingdom 

each  line  of  wliicli  begins  with  the  words  Ove  son,  contrasts  her 
present  surroundings  with  her  former  life  by  asking: 

Ove  son  I'aspre  selve  e'  lupi  adesso, 

E  gli  orsi,  e'  draghi,  e'  tigri  ?   Son  qui  presso. 

29 :  Beltramo  and  his  brother  bring  snakes  and  bear-cubs  to 
frighten  her. 

33 :  V.  cinghial,  p.  58. 
xxi^  44:  The  witch  Creonta  seizes  Aldinghieri  in  an  embrace 
like  that  of  a  young  bear, 
sxiii^  18 :  V.  cavallo,  p.  54. 

37 :  V.  Half.  No.  223. 
XXVII,  34:  The  angry  she-bear  (orsacchia  accanita)  is  used  as 
an  image  to  portray  Orlando's  revenge  for  the  death  of  San- 
sonetto. 

74:  V.  cane,  p.  52. 

163:  V.  cavriuol,  p.  56. 

Oetolano. 
ixiv,  59 :  V,  p.  14. 
XXV,  216:  V.  heccafico,  p.  46. 

217 :  E  come  un  dice  gli  ortolan,  di  botto 
Par  che  si  lievi  in  tanta  boria  Prato. 

The  rest  of  the  stanza  is  a  play  upon  the  word  ortolano  in  the 
meaning  of  gardener  and  it  may  be  that  the  refernce  above  to 
Prato  alludes  to  its  fine  gardens.  Cf.  Curto,  p.  43,  for  its 
connection  with  Arlotto  Mainardo.  The  Scriptural  reference 
is  to  John  XX,  15. 

Panteea. 

XIV,  81 :  V.  p.  9. 

XXV,  90 :  Among  Marsilio's  gifts. 

Pardo. 

XXVI,  4 :  V.  cerviere,  p.  57. 

XXVII,  29 :  V.  Vegliantino,  p.  99. 


Luigi  Pulci  and  the  Animal  Kingdom  87 

Pavone. 
11^  24:  V.  cappone,  p.  52. 
XIV,  55:  V.  p.  17. 

xxv_,  218:    E  vi  fu  insino  a'  pavon  colle  penne. 
One  of  the  dishes  of  a  banquet  prepared  for  the  knights. 

Pecchia. 
vir,  32  :       Le  pecchie  soglion  pel  fuoco  sbucare. 
Morgante  uses  this  proverb  in  expressing  his  desire  to  set  fire 
to  the  Pagan  camp. 
X,  59 :  V.  farfalla,  p.  65. 

xxTT,  134:  Berlinghieri  in  the  battle  is  compared  to  a  stinging 
bee ;  "  Giiarda  che  questa  pecchia  non  ti  punga." 

XXV,  106  :    Che  chi  vuol  quelle  gente  pigliar  tosto, 

Come  le  pecchie  gli  pigli  col  mosto. 

Gano  counsels  Marsilio  to  send  rich  provisions  of  food  as  a  trap 
for  the  Christians. 

Pecoea. 

II,  72 :  V.  lupo,  p.  78. 

XT,  105 :  V.  Half.  l^o.  225. 

XIII,  66 :  The  wild  horse  follows  Rinaldo  "  come  un  pecorin." 
The  same  comparison  is  used  again  in  68. 

XIV,  77:  V.  p.  19. 

XX,  37:  V.  delfin,  p.  62. 
64:  V.  capra,  p.  53. 

XXI,  38 :  A  giant  seizes  Ulivieri  and  carries  him  as  a  wolf 
would  carry  a  sheep. 

XXII,  30 :  Astolfo,  after  comparing  Gano  to  the  wolf  disguised 
as  a  pilgrim,  asks  him  if  he  would  take  a  sheep  if  he  found  it. 

198 :  Ed  e  venuto  drieto  a'  lor  consigli. 
Come  al  pane  insalato  il  pecorino. 

XXIV,  166:  V.  lupo,  p.  79. 

XXVI,  78  :     E  Turpin  caccia  le  pecore  al  monte. 

As  Archbishop  he  is  "  shepherd  of  the  flock  " ;  here,  however, 
he  is  driving  the  pagan  "  sheep  "  with  the  sword. 


88  Luigi  Pulci  and  the  Animal  Kingdom 

124:  armenti  (flocks),  v.  cavriuol,  p.  56. 

XXVII,  230 :  V.  Half.  :N^o.  81. 

Pegaso. 
XXV,  311:  V.  p.  37. 

XXVIII,  3 :    Infino  a  qui  I'aiuto  di  Parnaso 

N^on  ho  chiesto  ne  cliieggo,  Signor  mio, 
O  le  miTse  o  le  suore  di  Pegaso, 
Come  alcim  dice,  o  Calliope  o  Clio. 

Pellican. 

XI,  1 :  O  santo  Pellican,  che  col  tuo  sangiie 

Campasti  noi  dalla  fera  crudele. 

The  invocation  is  addressed  to  Christ,  with  an  allusion  to  the 

idea  of  the  pelican  feeding  its  young  with  its  own  blood.     Cf. 

Dante,  Par.  xxv,  112.^^ 

XIV,  51 :  V.  p.  23. 

XXVII,  124:  Christ  is  again  addressed  as  "  nostro  pellicano/' 

213 :  Carlo  would  have  restored  Astolfo  to  life  with  his  blood 
as  the  pelican  does  its  young  killed  by  the  snake.     Cf.  p.  23. 

Pesce. 

IX,  73 :  V.  volpe,  p.  100. 

XIV,  57:  Certain  birds  live  near  water  to  fish. 
65:  V.  p.  17. 
66:  V.  p.  9. 
67 :  V.  p.  14. 

68 :  Vedevasi  la  manna  che  giu  casca, 
E  '1  pesce  per  pigliarla  stare  accorto, 
E  come  il  pescator  molto  s'affanni 
'  Con  rete  ed  esca,  e  con  mille  altri  inganni. 

Manna  here  probably  refers  to  some  substance  thrown  into  the 
water  as  bait.^^ 

79 :  V.  lontra,  p.  10. 

'^v.  Holbrook,  Dante  and  the  Animal  Kingdom,  p.  294. 

"  For  another  use  of  the  word  in  other  than  its  true  sense  v.  i,  27. 


Luigi  Pulci  and  the  Animal  Kingdom  89 

XIX,  128 :     Cosi  come  ]\rargutte  di  qui  esce, 

Sara  come  cavar  dell'  acqua  un  pesce. 

XX,  40 :  Rinaldo  threatens  to  throw  a  Pagan  overboard  to  the 
fishes.     O,  XLiv,  11. 

49 :  Morgante,  wading  ashore,  gets  near  enough  to  land  so 
that  the  fish  no  longer  trouble  him:  but  he  cannot  escape  his 
fate:  the  crab  bites  him.^"' 

50 :  It  is  mentioned  that  he  had  bared  his  feet  when  he  killed 
"  the  great  fish  "  (the  whale). 

XXII,  84 :     E  pesciolini  a  Monaca  lo  sanno. 

A  very  well-known  fact  is  said  to  be  known  even  by  the  fishes.*^ 
What  Pulci  means  by  Monaca  (Monaco  or  Munich?)  is  not 
clear. 

XXIII,  42  :    Parranno  loro  i  pesci  piu  che  starne. 

The  hungry  knights  have  been  riding  all  day  without  food.   The 
hermit,  at  whose  cell  they  stop,  tells  them  he  can  give  them 
only  fish  (43)  ;  he  takes  his  net  and  goes  after  some  (44)  and 
brings  in  a  great  number  (45).^'^ 
47 :  V.  lasca,  p.  71. 

XXV,  226 :  v.  gurro,  p.  69. 

252:  Eicciardetto  is  afraid  to  cross  the  sea  flying  on  the 
back  of  his  horse  with  a  demon  within,  "for  fear  of  falling 
down  into  the  fishes'  mouths." 

307 :  Rinaldo  tells  of  the  fishes  to  be  seen  on  the  padiglione. 

332 :  V.  farfalla,  p.  34. 

XXVI,  48 :  V.  coccodrillo,  p.  59. 

69 :  A  shield  is  made  of  the  bone  "  d'un  certo  pesce,"  prob- 
ably the  whale. 

PiCCHIO. 

XIV,  53 :  V.  p.  23. 

XXI,  49  :       !N"on  Oratas,  quel  che  i  pippion  ci  dette. 
Whether  this  is  another  reference  to  the  Novella  referred  to  in 
xrv,  53,  is  in  doubt.    Volpi  notes  that  the  other  persons  named 

"  V.  granchio,  p.  68. 

"  V.  Volpi,  note,  who  cites  the  Din.  della  Crusca. 

•^  A  suggestion  of  the  "  miraculous  draught "  of  the  Gospels. 


mg 


90  Luigi  Pulci  and  the  Animal  Kingdom 

in  the  passage  are  demons,  but  confesses  that  he  knows  noth 
about  Oratas. 

POLLO. 

IV,  15:  Einaldo   cuts   off   the   dragon's  head   as   he   would   a 

chicken's. 

XIV,  33 :       Che  come  un  polio  morto  giu  stramazza. 

XIX,  46 :  V.  gallo,  p.  QQ>. 

XXVII,  25 :  V.  Astor,  p.  43. 

XXVIII,  12 :  V.  gatto,  p.  67. 

PORCO. 

I,  62 :  A  herd  of  swine  comes  to  the  fountain  where  Morgante 
goes  for  water:  he  kills  two  and  carries  them  back,  with  his 
bucket  of  water,  to  the  monastery,  where  the  monks  are  aston- 
ished to  see  him  carry  such  a  great  load.    O,  ii,  21. 

III,  42  :         E  lascia  i  porci  poi  pescar  nel  truogo. 

43 :  The  soup  is  brought  in  in  a  pail  as  one  feeds  pigs. 

IV,  29 :  Porco  is  used  as  an  adjective — "  con  sue  parole  porche." 
XIV,  76:  V.  p.  18. 

XXVII,  163:  V.  cavriuol,  p.  56. 

PULCIN. 

X,  86:  "  Tin  pulcin  fra  '1  capecchio  Par  che  mi  stimi  Rinaldo." 

V,  Half.  'No.  272. 

PUTTA. 

XIX,  133 :     E  quando  egli  era  ubbriaco  e  ben  cotto 
E'  cicalava  per  dodici  putte. 

PuUa=  gqzza — magpie  (Hoare), 

XXIV,  92 :     Saltella  in  qua  e  in  la  come  le  putte. 

Ramarro. 
XIV,  83 :  V.  p.  14. 

XXII,  9 :       Filiberta  ha  I'occhio  del  ramarro. 
According  to  Sermolli  "  occhio  .  .  .  hello  e  attraente,  e  che 
gTiarda  volentier  I'uomo." 


Luigi  Pulci  and  the  Animal  Kingdom  91 

Ranocchio. 
II,  21 :  V.  Half.  No.  27G. 

XII,  57 :  Orlando  compares  his  size  to  that  of  a  frog  beside  the 
giant  Pagan — a  suggestion  of  the  frog  which  tried  to  swell 
itself  to  the  size  of  the  ox. 

XVIII,  198:  Margntte  swears  he  will  divide  everything  with 
Morgante : 

S'  a  divider  s'  avessi  solo  nn  fico, 
Una  castagna,  im  topo,  o  iin  ranocchio. 

XXII,  134:  V.  biscia,  p.  13. 

XXVIII,  10 :  The  enraged  populace  wishes  to  "  skin  Gano  like  a 

frog." 

RoNDELLo  (Uggieri's  steed). 

I,  17:  Orlando,  mad  with  rage  against  Carlo  and  Gano,  leaves 
the  Court,  taking  from  Ermellina  the  sword  and  steed  of  her 
hnsband,  ITggieri.  il  Danese.  Rondello  bears  him  through  the 
first  stages  of  his  journey  in  pagan  lands,  but  drops  out  of  the 
story  after  Orlando  gets  back  his  own  horse  Vegliantino. 

26 :  Rondello  barely  escapes  being  hit  by  a  rock  thrown  down 
the  mountain-side  by  one  of  the  giants,  and  leaps  under  shelter. 
O,  I,  7. 

II,  76 :  E  Rondel  via  come  in  sua  nome  passa. 
That  is,  he  appears  to  fly  like  a  swallow  (rondine). 

RONDONE. 

VIII,  82 :  The  knights'  horses  are  compared  to  swifts. 

XIV,  60 :  V.  p.  14. 

xxii,  133 :  V.  Half.  No.  264. 

Satieo. 

XIX,  14 :  The  lady  lost  in  the  forest  says  that  the  crime  of  the 
giant  would  have  touched  the  heart  of  a  satyr. 

XXVIII,  139 :  There  occurs  here  another  reference  to  Marsyas, 
who  was  flayed  alive.®^ 

•^v.  Marsia,  p.  81. 
7 


92  Luigi  Pulci  and  the  Animal  Kingdom 

SCHIAMAZZO. 

xxiv^  97:  V.  civetta,  p.  59. 

SciMIA. 

XVI,  89 :  II  paternostro  della  scimia:  v.  hertuccia,  p.  47. 

XXIV,  93 :     Come  scimia  fa  la  schiavonesca. 
Volpi  notes  that  the  schiavonesca  is  a  dance. 

SCOEPIO. 

XIV,  63:  V.  p.  25. 
QQ'.  V.  p.  18. 

XXV,  137 :  The  constellation  Scorpio  is  referred  to  in  connec- 
tion with  astrology. 

Serpe. 

XIV,  83:  V.  p.  18. 

XIX,  15 :  The  lost  lady  is  borne  among  wolves  and  snakes. 

XXI,  76 :  The  witch  Cretona  "  si  distende  come  serpe  o  bisce." 

XXII,  26:  The  serpe  here  is  a  retort  for  distilling  potions.^^ 

XXIII,  4:  Fugliatto  calls  Rinaldo  the  snake  of  which  he  has 
been  dreaming. 

5 :  Einaldo  in  reply  tells  him  the  story  of  the  hedgehog 
which,  having  allowed  the  snake  to  come  into  its  den,  is  forced 
to  drive  it  out  when  it  coils  about  its  host.  He  says  he  is  the 
hedgehog  and  Fugliatto  the  snake. 

'21 :  V.  cavallo,  p.  54. 

XXIV,  27:  V.  Half.  ^o.  277. 

127:  Serpe  di  ceraldo.  The  word  ceraldo  has  been  asso- 
ciated with  cerasta,  but  with  no  degree  of  certainty. ''^'^  Volpi, 
from  the  context,  suggests  ciarlatino,  with  the  idea  of  conquered. 
The  comparison  is  with  Gano,  who  is  playing  the  coward  in 
the  battle. 

XXV,  112 :  V.  XXII,  26  above. 
XXVII,  213 :  V.  pellican,  p.  88. 

'"Tramater,  Diz.,  s.  v.  serpe.  No.  3:  2.  Cf.  also  Curto,  op.  cit.,  who  is 
evidently  mistaken  in  thinking  the  word  means  leech,  as  other  implements 
are  mentioned  both  in  this  passage  and  in  xxv,  112. 

'*v.  Iloare  and  Tommaseo-Bellini. 


Luigi  Pulci  and  the  Animal  Kingdom  93 

Serpente. 
I,  40 :  Morgante  dreams  that  Mahomet  failed  to  answer  his 
prayer  when  he  was  attacked  by  a  serpent.    O,  i,  28. 

43:  He  tells  his  dream  to  Orlando  and  says  he  desires  to 
serve  the  true  God,  who  delivered  him  from  the  serpent, 
iv^  8 :  The  dragon  is  called  serpente,  as  also  in  65. 
IX,  60:  Meridiana's  palfrey  has  a  serpent's  head.     O,  xv,  4. 
This  sort  of  animal  is  also  described  in  Ciriffo  Calvaneo,  in,  28, 
where  it  bears  the  name  Serpentina.    . 

XII,  43 :  The  padiglione  of  the  Saracen  is  made  of  serpent's 
skin.     O,  XX,  14. 
XIV,  81 :  V.  p.  12. 

XVII,  39 :  The   Old   Man   of  the   Mountain   arms   himself  in 
serpent's  skin. 

108 :  V.  leofante,  p.  71. 
XIX,  40:  V.  lione,  p.  76. 

XXI,  109 :  V.  grifone,  p.  68. 

XXII,  189:  The  Arpalista  dreams  that  a  serpent  pursues  him. 
O,  Lvii,  40. 

XXIII,  14:  A  serpent,  driven  out  of  a  burning  palace,  attacks 
Fugliatto. 

49 :  A  seven-mouthed  serpent  appears  as  one  of  the  omens 
preceding  Roncisvalle. 

XXV,  89 :  A  horn  and  claw  of  a  serpent  (probably  a  dragon)  are 
among  Marsilio's  gifts. 

153.  A  reference  to  the  temptation  of  Adam. 

213:  V.  dragone,  p.  63. 

311 :  V.  Anfisibena,  p.  28. 

314:  V.  Catoblepa,  p.  31. 

320:  V.  Bora,  p.  30. 

323 :  V.  Chelidri,  p.  32. 

325 :  V.  Ibis,  p.  34. 

XXVI,  4:  V.  cerviere,  p.  57. 
48 :  V.  coccodrillo,  p.  59. 

XXVIII,  73 :  Rinaldo  is  compared  to  an  angry  serpent. 
126 :  V.  XXV,  153  above. 


94  Luigi  Pulci  and  the  Animal  Kingdom 

Smerlo, 
VII,  51 :  V.  Half.  N"o.  265. 
xiv^  49 :  smeriglio,  v.  p.  18. 

SORO. 

XXII,  124 :  Gherardo  is  to  be  deceived  like  a  young  hawk. 

Sparvier. 
XIV,  49 :  V.  p.  9. 

XVIII,  183 :  Margntte  tells  Morgante  he  will  need  no  sparrow- 
hawk  to  seize  things  for  him,  since  he  is  an  adept  at  that. 

XXII,  11:  V.  Half.  ^"0.  257. 
XXIV,  98:  Ibid. 

XXVI,  25 :  V.  Half.  ^o.  71. 
89:  V.  Half.  No.  257. 

Spinoso. 
XIV,  79  :  V,  p.  9. 
xxiii,  5 :  V.  serpe,  p.  92. 

Starna. 

II,  24 :  V.  cappone,  p.  52. 
IV,  55 :  V.  falcone,  p.  64. 

XIV,  51 :  V.  p.  18. 

XV,  50:        Ch'io  so  che'  denti  tnoi  non  son  da  starne. 

An  expression  somewhat  similar  to  our  "  scarcer  than  hen's 
teeth." 

XVIII,  123 :  V.  cappone,  p.  52. 

XIX,  28 :  V.  cerasta,  p.  56. 

XXIII,  22 :  V.  cavallo,  p.  55. 
42 :  V.  pesce,  p.  89. 

XXVII,  26  :    E'  si  chiudea  un  come  uccel  di  ratto, 

Benche  le  starne  gli  danno  nel  guanto.'^^ 

Stornello. 
XIV,  54:  V.  p.  26. 

"v.  Volpi,  note.    There  is  a  variation  in  texts  here:  Venezia,  1784  and 
Milano,  1806  omit  un,     Volpi  transposes  un  and  come. 


Luigi  Pulci  and  the  Animal  Kingdom  95 

XXII,  62 :  V,  mulacchia,  p.  17. 
XXIV J  40 :     Noi  darcmo  iin  di  tutti  in  una  ragna, 
Come  stornegli  in  qualclie  luogo  piatto. 

This  is  a  picture  of  what  will  happen  if  Gan  is  not  disposed  of : 
it  is  a  prophecy  of  Roncisvalle. 

Tafano. 

xxiv^  143;  V.  niignatta,  p.  82. 
XXVI,  142:  V.  Half.  No.  290. 
xxvii^  70 :  V.  cavallo,  p.  55. 

Talpa. 
XIV,  84:  V.  p.  18. 

XXV,  253 :    Si  ritrovano  al  buio  come  talpe. 
XXVIII,  130 :  V.  Half.  No.  237. 

Taeabuso. 

XXV,  51:      E  Bianciardin,  ch'  era  con  Gan  molto  uso, 
Provato  avea,  per  iscalzargli  il  dente, 
Tutti  i  suoi  ferri,  e  poi  del  tarahuso 
Gli  artigli,  e  non  avea  fatto  niente. 

Volpi  cites  a  note  of  Pulci  himself  on  this  word :  "  uno  uccello 
che  si  adopera  gli  artigli  a'  denti."  Apparently  it  was  the  name 
of  some  dental  tool,  as  Florio  defines  it :  "A  toothdrawers 
instrument  to  draw  teeth."  Bianciardino  is  trying  to  sound 
Gano's  plans."^^ 

Taelo. 

XXIV,  157:  La  prima  pace  fa  che  sia  nel  core; 

E  se  vi  fussi  restato  alcun  tarlo 
Ognun  con  carita  lo  sbuchi  fore. 

XXV,  57:  V.  Half.  No.  294. 

"  It  is  interesting  to  note  that  the  French  in  the  seventeenth  century 
called  the  same  instrument  a  "  pelican."  Cf.  Cyrano  de  Bergerac's  poem, 
Le  Ministre  d'Etat  Flawbe  in  which  he  writes  the  word  "  polican  "  (Ed. 
Jacob,  Paris,  p.  258). 


96  Luigi  Pulci  and  the  Animal  Kingdom 

Tasso. 
V,  53:  V.  Half.  Ko.  224. 
xiv^  78;  V.  p.  10. 
xxiii^  18:  V.  cavallo,  p.  54. 

Teezuolo. 

xiv^  48:  V.  p.  18.    • 

xviii,  92 :  V.  Half.  No.  254. 

Testuggine. 

xrx,  54:  Margiitte  discovers  an  immense  turtle,  wliicli  appears 
as  large  as  a  mountain  (56)  :  they  kill,  roast  and  eat  it  (60). 
xxvij  74:  A  Pagan  carries  a  turtle-shell  as  a  shield  (scoglia  di 
testudo). 

TiGEE. 

XVI,  32:  Antea's  fair  face  would  tame  any  tiger. 

XVII,  85 :  XIX,  23 :  v.  orso,  p.  85. 
XIX,  68 :  V.  havalischio,  p.  46. 
XXIII,  52 :  V.  lione,  p.  77. 

XXV,  90 :  Among  Marsilio's  gifts. 
XXVII,  29 :  V.  Vegliantino,  p.  99. 
74:  V.  Half.  No.  218. 

TiNCA. 

X,  17:  V.  Half.  No.  282. 
XIV,  67:  V.  p.  14. 

Topo. 

VII,  46 :  Orlando  says  that  Morgante  has  done  a  foolish  action 

in  attacking  the  Saracen  camp  as  one  pursues  mice  with  a 

broom  and  that  he,  himself,  will  be  the  mouse  caught  as  in  a 

trap. 

XIV,  79 :  V.  gatto,  p.  15. 

XVIII,  157:  V.  Half.  No.  238. 
198:  V.  ranocchio,  p.  91. 

XXI,  114:  V.  grifone,  p.  69. 

XXII,  121 :  V.  Hone,  p.  77. 


Luigi  Pulci  ayid  the  Animal  Kingdom  97 

TORDO. 

V,  54 :  Kinaldo,  after  a  combat,  says : 

Vedestu  mai  tordo 
Ch'  avessi  com'  ebb'  io  della  ramata? 

alluding  to  the  blows  he  had  received.     The  ramata  was  an 

implement  used  for  striking  birds  in  a  night  hunt  (Hoare).'^ 

XIV,  58:  V.  p.  14. 

XVII,  46:  V.  Half.  No.  262. 

XIX,  139:  Margutte,  stealing  all  the  provisions  he  can  carry, 

remarks : 

E'  non  si  truova  cotti  i  tordi 
Quand'  io  saro  per  le  selve  tra'  cerri. 

XXII,  90 :     E  s'  alcun  tordo  da  me  s'  e  fuggito, 

Quando  e'  son  troppi,  egli  sforzon  la  ragna. 

Diliante  boasts  that  if  one  person  has  escaped  it  is  only  because 
there  are  so  many  to  guard. 

XXIV,  86 :     Tu  li  vedrai  impaniati  come  tordi. 

98:  II  gigantin  nel  boschetto  si  tuff  a, 
Come  il  tordo. 
148 :  Come  e'  si  fa  quando  e'  casca  giii  il  tordo.'^'^ 

XXV,  8 :        Che  questo  tordo  avea  bianco  il  groppone, 

Da  rimanere  alia  pania  o  la  ragna. 

This  is  a  reference  of  the  same  type  as  the  preceding. 

XXVI,  63 :     E  schiaccio  I'elmo  e'  1  capo  come  al  tordo 

E  in  questo  modo  Io  guari  del  sordo. 

XXVII,  107:  V.  Half.  No.  262. 

XXVIII,  45  :  E  guidicate  alle  man,  non  agli  occhi, 

Come  dice  la  favola  del  tordo. 

Volpi,  in  a  note,  interprets  "  Guardate  ai  f atti  e  non  alle  appa- 
renze  "  and  gives  the  fable  as  follows :   "  Presi  molti  tordi  vivi, 

"  V.  Volpi,  note. 
''*  V.  Volpi,  note. 


98  Luigi  Pulci  and  the  Animal  Kingdom 

un  cacciatore  li  uccideva  ad  imo  ad  imo  schiacciando  loro  il  capo 
con  le  dita.  Intanto  per  il  gran  freddo  gli  cominciarono  a  cader 
delle  lacrime,  e  uno  dei  tordi  non  ancora  nccisi  disse:  Piange 
per  compassione  di  noi.  Rispose  un  altro :  Guardagli  le  mani." 
(Monosini,  Floris.  ital.  linguae  lihri  novem,  p.  411).  This 
rather  obscure  fable  appears  in  the  English  translation  of 
Doni's  Moral  Filosofa  by  Lord  N"orth  (1570)."^^  Since  the 
Moral  Filosofia  dates  from  less  than  a  century  after  Pulci  it  is 
probable  that  the  latter  knew  the  fable  in  some  Latin  or  Italian 
version.  It  is  found  also  in  the  Caxton  ^sop  which  was  trans- 
lated in  1484  from  the  French  version  of  Steinhowel's  Latin 
and  German  edition,  1480.'^^ 

TORO. 

Ill,  74 :        Dodon  pareva  piii  bravo  ch'  un  toro. 
IX,  2 :  Era  nel  tempo  che  piu  scalda  il  Tauro. 

The  Oiiando  has,  in  the  second  stanza  of  many  of  its  cantos,  an 
indication  of  the  season  by  a  sign  of  the  Zodiac.  Pulci  does  not 
follow  this  design  throughout;  a  few  of  his  cantos  have  such 
indications,  of  which  the  above  is  one. 

61 :    Meridiana's  serpent-headed  palfrey  roars  like  a  bull. 

68:  Faburro's  arms  bear  a  crescent  whose  horns  resemble 
those  of  a  bull. 

XVI,  31 :       Che  non  sarebbe  ingannata  Europia, 
Non  si  sarebbe  trasformato  in  toro 
Giove,  e  mutata  la  sua  forma  propia. 

This  is  one  of  the  long  series  of  mythical  allusions  made  by 
Kinaldo  in  praise  of  Antea.'^'^ 
XXIII,  IS:  V.  cavallo,  p.  54. 
XXVII,  20 :    E  parve  un  toro  bravo  quando  assilla. 

"  V.  Jacobs,  The  Earliest  English  Version  of  the  Fables  of  Bidpai,  p.  84. 

"v.  Jacobs,  The  Fables  of  Aesop  as  first  printed  by  William  Caxton,  I, 
249;    II,    110;    Steinhowel's   Aesop,   ed,   Osterley,   Tubingen,    1873,   p,    179. 
There  was  an  Italian  version  by  F.  del  Tiippo  in  1485. 
Cf.  dalfmo,  p.  61. 


77,1 


Luigi  Pulci  and  the  Animal  Kingdom'  99 

232 :  E'  non  si  vide  mai  piu  spade  a  Koma 

Addosso  a  qiialche  toro,  qiiando  in  caccia 
Isciolto  giii  del  plaiistro  quel  toma, 
Quando  si  fa  la  fcsta  di  Testaccia. 

A  reference  to  a  popular  festival  at  Kome  at  which  bull-fights 
were  held  J** 

Vacca. 
XXII,  36 :  V.  Half.  No.  83. 

Vegliantino  (Orlando's  steed). 
Ill,  46 :  The    knights    take    with    them,    in    their    search    for 
Orlando,  his  horse  Vegliantino.     Frequent  mention  of  him  is 
made  throughout  the  poem  but  he  does  not  plav  as  important 
a  part  in  the  story  as  Baiardo. 

XXI,  129 :  Orlando  gets  into  a  dispute  with  an  innkeeper  who 
wishes  to  keep  Vegliantino  as  a  pledge  for  an  unpaid  bill. 
O,  L,  31. 

XXIV,  131 :  V.  Baiardo,  p.  47. 

XXVII,  15 :  Vegliantino  refuses  to  go  forward  iri  order  to  avoid 
passing  over  the  dead  body  of  Sansonetto. 

29 :  He,  by  his  speed,  which  is  compared  to  that  of  a  tiger,  a 
pard  or  a  winged  bird,  renders  escape  impossible  for  Grandonio. 

32 :  He  is  forced  to  crouch  because  the  force  of  his  master's 
blow  has  fixed  his  sword  in  the  earth,    cf .  Baiardo,  p.  44. 

101:  He  drops  dead  as  Orlando  dismounts. 

102 :  Orlando's  lament,  the  first  seven  lines  of  which  begin 
"  O  Vegliantin." 

103 :  At  his  master's  demand  for  pardon  he  opens  his  eyes 
and  nods  his  head. 

Dunque  Pirramo  e  Tisbe  al  gelso  fonte 
A  questa  volta  e  Veglmntino  e'  1  conte. 

Veltro. 
XI,  116:       E  come  il  veltro  non  istava  saldo 

Quando  la  lepre  ha  veduta  scoperta. 

"*  V.  Volpi,  note. 


100  Luigi  Pulci  and  the  Animal  Kingdom 

XXVII,  62 :  E  come  il  veltro  alia  grida  si  mosse. 

Verro. 

XVIII,  16 :    Rinaldo  si  scagliava  come  un  verro. 
XXVII,  87:  V.  Half.  ^o.  65. 

ViPRA, 

IV,  41 :    The  beast  which  demands  a  victim  every  day  is  called 
a  vipra.    O,  vii,  39. 
XIV,  83:  V.  p.  26. 

XIX,  28:  V.  cerasta,  p.  56. 

VOLPE. 

IX,  19 :  V.  gallo,  p.  65. 

73 :  E  disse :  lo  ti  vo  dare  una  novella. 

La  volpe  un  tratto  molto  era  assetata ; 

Entro  per  here  in  una  secchia  quella, 

Tanto  che  giu  nel  pozzo  se  n'  e  andata ; 

II  lupo  passa,  e  questa  meschinella 

Domanda,  come  sia  cosi  cascata: 

Disse  la  volpe :  Di  cio  non  t'incresca : 

Chi  vuol  dei  grossi  nel  fondo  giii  pesca. 
74 :  lo  piglio  lasche  di  libbra,  compare ; 

Se  tu  ci  fussi,  tu  ci  goderesti ; 

lo  me  ne  vo'  per  un  tratto  saziare. 

Eispose  il  lupo :  Tu  non  chiamaresti 

A  queste  cose  il  compagno,  comare, 

E  forse  che  mai  piu  non  lo  facesti. 

Disse  la  volpe  maliziosa  e  vecchia : 

Or  oltre  vienne,  e  entrerai  nella  secchia. 
75 :  II  lupo  non  istette  a  pensar  piue, 

E  tutto  nella  secchia  si  rassetta, 

E  vassene  con  essa  tosto  giue ; 

Truova  la  volpe,  che  ne  vien  su  in  f  retta ; 

E  dice  il  sempliciotto :  Ove  vai  tue? 

ISTon  vogliam  noi  pescar?     Comare,  aspetta. 

Disse  la  volpe :  II  mondo  e  f atto  a  scale, 

Vedi,  compar,  chi  scende  e  chi  su  sale. 


Luigi  Pvlci  and  the  Animal  Kingdom,  101 

76 :  II  liipo  drento  al  pozzo  rimanea : 
La  volpe  poi  nel  can  dette  di  cozzo, 
E  disse,  il  suo  nimico  morto  avea ; 
Onde  e'  rispose,  bench'  e'  sia  nel  pozzo, 
Che'  1  traditor  pero  non  gli  piacea: 
E  presela,  e  ciuffolla  appimto  al  gozzo, 
TJccisela,  e  puni  la  sua  malizia; 
E  cosi  ebbe  luogo  la  giustizia. 

This  fable,  as  McKenzie  has  pointed  oiit,'^^  seems  to  be  medieval 
in  origin  and  to  have  come  from  an  oral  source.  It  is  found 
in  a  terza  rima  version  in  a  fifteenth  century  manuscript  of  the 
Biblioteca  N^azionale  at  Florence,  which  apparently  is  Pulci's 
source,  as  his  version  is  practically  the  same  in  most  of  its 
details.  Two  slight  differences  follow :  in  the  terza  rima  version 
the  fox  wishes  to  bathe  (le  uenne  uizio  volersi  bangnare),  which 
does  not  appear  in  Pulci,  but  thirst  also  induces  it  to  descend 
into  the  well,  and  the  reply  in  regard  to  the  fishing  is  different : 
"  e  piglio  molti  pesci  sanza  lai."  The  meeting  of  the  fox  and 
the  dog  afterwards,  and  the  killing  of  the  former  to  avenge  the 
treachery  to  the  wolf,  are  apparently  peculiar  to  these  two  ver- 
sions only  of  the  fable,  and  are  a  strong  argument  in  favor  of 
their  being  related. ^^ 
XIV,  78:  V.  p.  10. 
XIX,  155 :  V.  Hone,  p.  76. 

XXV,  61 :      ISToi  sarem,  veggo,  in  un  sacco  due  volpe. 
A  proverb  meaning  to  wrangle  or  quarrel  incessantly.    There  is 
a  reminder  here  of  the  way  in  which   Morgante  wraps  up 
Dodone  and  Manfredonio  in  a  tent  and  carries  them  off,  vainly 
struggling  with  each  other. ^^ 

172  :  Guarda  se  questo  fu  tratto  di  volpe. 

329:  V.  Atilon,  p.  29. 

XXVII,  168:  V.  cane,  p.  52. 

XXVIII,  9 :  V.  Half.  N^o.  233. 

"  Italian  Fables  m  Verse,  p,  276.    v.  also  McKnight,  The  Middle  English 
Vox  and  Wolf. 

^  V.  McKenzie,  op.  cit.,  p.  277 ;  McKnight,  I.  c. 
«vii,  17ff. 


102  Luigi  Pulci  and  the  Animal  Kingdom 

IV 

PuLCi's  Minor  Woeks 

Of  the  minor  works  of  Pulci,  the  Lettere,  the  Novella  and  the 
Giostra  were  not  available  for  this  study:  the  author  hopes  to 
supplement  his  work  with  an  examination  of  them  later. 
Among  the  others,  the  Sonetti  have  by  far  the  greatest  number 
of  references  to  animals ;  many  of  these  sonnets  were  addressed 
to  Matteo  Franco,  a  priest,  and  are  extremely  obscene,  as  are 
Matteo's  in  reply :  for  the  most  part  names  of  creatures  are  used 
as  epithets.  The  scurrility  of  the  language  used  often  renders 
the  meaning  obscure,  and  the  allusions  in  general  are  common- 
place and  proverbial;  but  they  show  how  the  fondness  for 
introducing  animals  into  his  writings  permeates  the  whole  of 
Pulci's  work.  The  Confessione,  the  Beca,  the  Canzone,  the 
Frottola  and  the  SHramhotti  contain  scattering  references  to 
creatures,  which  are  likewise  unimportant  compared  with  the 
studied  natural  history  element  of  the  Morgante.  A  list  of  these 
animals  is  appended,  however,  in  order  to  complete  as  fully  as 
possible  the  allusions  of  Pulci  to  the  animal  kingdom. 

*  ^  AcciuGA.  8on.  88  (addressed  "  a  un  suo  avversario  che 
lo  chiama  accuiga  ").  To  call  one  an  anchovy  was  equivalent 
to  calling  him  a  good-for-nothing. 

Allocco.    Son.  21:  v.  gufo,  p.  105. 
Son.  97   (addressed  "a  un  geometre  suo  nimico").     "  Viso 
d'allocco."    Son.  104. 

Anitea.    Son.  88 :  anitrocco. 

*  Arpia.    Canz.  ii  (line  97).    cf.  celeno,  p.  103. 

AsiNo.  Son.  11:  Per  quel  che  raggia  Vasino  di  Maggio. 
cf.  p.  43. 

Son.  24:      Tu  fai  si  ben  I'asin. 
Son.  101 :    Che  tu  se'  come  I'asin  fra  gii  artisti, 

E  canti  per  bi  naolle  un  dirupisti. 
Conf.  p.  157:  Reference  to  the  birth  of  Christ,    cf.  p.  42. 

^  Animal  names  marked  with  an  asterisk  do  not  occur  in  the  Morganle. 


Luigi  Pulci  and  the  Animal  Kingdom  103 

Beca,  p.  15:  Come  fanno  gli  asini  alle  micce. 
p.  19  :  Ti  faro  come  fe  jer  Vasin  mio. 

AsPiDO.     Canz.  ii.  frigidi  aspidi  (line  49). 

AssiuoLo.    Son,  87. 

Babbuino.    Son.  75 :  v.  hertuccia  below. 

Bavalischio.     Son.  102. 

Beccafico.     Son.  145 :  v.  ortolano,  p.  105. 

Bertuccia.    Son.  75  :  Coraprati  "una  hertuccia  o  babbuino. 
Son.  144. 

BoTTA.    Son.  25 :  v.  celeno,  p.  103. 

*  Bracco.    Son.  89 :  v.  starna,  p.  106. 
BuE.    Son.  24 :  Facendo  el  ho  del  orto. 

>S'on.  86. 

Conf.  p.  151 :  v.  Asino,  p.  42. 

BuFOL.    Son.  2  :  huffol. 

Calandra.    Son.  89. 

Cane.    /S'on.  4 :  can  ribaldi. 
Son.  85,  87,  90,  93. 

Son.  98:  cane  alano,  ef.  p.  50. 
Son.  143. 
Canz.  p.  167 :  Perche  il  can  cbe  morder  vuole 

Bade  volte  abba j  a  e  rigna. 
Beca,  p.  20:  Almanco  come  al  can  mi  dessi  un  tozzo. 

Cappoke.    Son.  Ill:  v.  starna,,'p.  106. 

Carpione.    Son.  25. 

Cavallo.    Son.  12. 
5on.  24:  cavalluccio. 
Prot.  p.  178. 

Cavriuol.    Frot.  p.  182:  pel  di  cavrioli. 

*  Celeno.    /S'on.  25 :  Celeno  di  botte,  pien  di  vizj  e  di  veleno. 
Cerbero.    Son.  96. 

Cervio.    Str.  81 :  Ella  e  la  cervia,  e  i'  sono  una  chiocciola. 
Frot.  p.  181 :  corno  di  cervio  arso. 

Chiocciola.    Str.  81 :  v.  cervio  above. 
Frot.  p.  180. 

CiACCo.     Son.  89:  Per  non  gittar  le  margarite  al   ciacco. 

cf.  p.  58. 


104  Luigi  Pulci  mid  the  Animal  Kingdom 

Son.  100:  Ser  Ciacco. 

•I- 

*  Cicala.    Son.  23  :  I'ho  tanto  gi-attato  le  cicale 

Ch'i'ho  sentito  pur  qualche  candolfo. 
Son.  96 :  Addressed  to  a  man  of  small  stature:  "  Che  tu  se'  pur 
lo  Dio  delle  cicale." 

CicoGNA.     Son.  25. 

*CiuLLO.    Son.  101. 

CoLOMBA.     Conf.  p.  158:  Reference  to  Christ  in  the  temple. 

CoNiGLio.    Son.  4:  conigliera. 
Son.  79 :  pere  coniglie. 

CoRBO.    Sir.  63 :  Prima  si  troverra  un  bianco  corbo. 

CucuLio.    Son.  24:  Un  musico  gentil  piii  ch'  1  coculo  (  ?). 

Dalfino.     Son.  105 :  iscrignuto  dalfino. 

Deagone.     Son.  110,  114. 

Ermellino.    Son.  96. 

Falcone.    Sir.  81 :  Ell'  e  il  falcone,  i'  sono  una  testuggine. 

Eenice.    Sir.  63 :  Prima  I'alba  fenice  verra  nera.     A  white 
phoenix  is  unusual  in  bestiary  literature. 
Sir.  100':  S'allegra  nel  foco  come  fenice. 

Gallo.    Son.  12 :  hargigliuto  (wattled)  gallo. 

Gatto.     Son.  26:  gattaccia  morta. 
Son.  81 :  gattone. 
Son.  103 :  cervel  di  gatta. 

Ghiro.    Son.  98. 

*  Gracchia.     Son.  24 :  Ser  Gracchia. 

Granchio.     Son.  28 :  Ma  come  il  granchio  vuoi  parer  luna- 
tico.    cf.  p.  68. 
Son.  79 :     Tanta  reputatzion  ci  han  tolta  i  granchi, 

Ch'e'  pazzi  la  meta  son  rinviliti. 
cf.  p.  68. 

Beca.  p.  17 :  Mi  prese  appunto  il  granchio  ne  le  dita. 
Here,  cramp,  cf.  p.  68. 

p.  18 :  O  ch'io  pigli  di  granchi  un  mazzatello. 
p.  19  :  Vengale  il  grattagranchio  ne  I'orecchio. 
A  pain  (Hoare). 


Luigi  Pulci  and  the  Animal  Kingdom  105 

GuFO.    Son.  21 :  Ben  sai,  clie  dov'e  il  gufo,  o  qualche  allocco 

Vi  vola  volentieri  sempro  ogni  uccello. 
Son.  98:  O  venerabil  gufo  Soriano. 

Lepre.    Son.  2. 

LiONE.    Son.  2 :  leon. 
Str.  43 :  Non  sei  pero  ne  tigro  ne  leone. 

LuMACA.    Frot.  p.  81. 

Lupo.    Str.  64 :  E'l  lupo  amico  della  pecorella. 

LusiGNUOL.    Son.  10:  Quel  dolce  uccel,  che  ancor  per  Teseo 
piagne. 
Str.  81 :  Che  par  un  lusignuol  fuor  di  calugine. 

Mekla.    Son.  2. 
Son.  142 :  Caccia  sempre  alia  merle. 

Miccio.    Son.  31 :  Or  su  la  mazza  al  miccio.    cf.  p.  82. 
Son.  81. 
Beca,  p.  15 :    v.  asino,  p.  103. 

MiGNATTA.    Son.  103. 

MiNOssE.    Son.  22  :  Ne  tante  colpe  accorderia  Minosso. 

MoscA.     Frot.  p.  183. 

*  MucciN.    Beca,  p.  20 :  E  buzzico  un  muccin  quivi  dal  melo. 
MuLO.     Son.  102. 

Oca.     Frot.  p.  178. 

Okso.     Son.  91 :  orsacchino. 
Son.  142:    orsacchino:  servant's  liands  compared  to  its  paws. 

Ortolano.     Son.  145 :  The  ortolano  and  beccafico  appear 
together.     Cf.  p.  46. 

Pappagallo.     Son.  101. 

Passeeo.    Frot.  p.  183. 

Pecchia.    Son.  27 :  Tu  stuzzichi  le  pecchie. 
Beca,  p.  19 :  Beca  mia  dolce  piu  ch'  un  cul  di  pecchia. 

Pecoea.    Son.  144. 
Str.  64:  v.  lupo,  p.  105. 

Pellicano.    Son.  91 :  Si  torse  come  il  pelican. 

*  Peregrin.    Son.  26  :  same  as  pidocchio — louse. 
Pesce.    Son.  25 :  pesce  zugo. 

Son.  100. 

Conf.  p.  158:  Reference  to  Christ's  miracle. 


106  Luigi  Pulci  and  the  Animal  Kingdom 

Beca,  p.  18 :  De'  pesci  aval  non  se  ne  piglia  coda. 
Str.  82 :  Tanto  bo  scherzato  com'  il  pesce  in  f regola. 

PiccHio.    8on.  75 :  Scorti  forse  ci  ha  per  pippion  grossi. 
Son.  97 :  pippioncin. 

PiOMBiNO.    Son.  37 :  Perche  tu  se'  per  sette  pozzi  neri, 

I'  ti  mando  il  piomhin  colla  bigoncia. 

PiPiSTEELLO.    Son.  102. 

PoLLO.    Son.  26:  polio  la  in  baldracca. 

PoKCO.    /S'on.  23:  Tu  bai  viso.  .  .  .    D'lm  gbiotto  porco. 
Son.  30  :  Unto  porco  erro. 
^on.  31,  102,  121. 
Son.  142 :  porcellin. 

PuLCix.    Son.  106:  pulcin  mugellese. 

RiAMARRO.    Son.  81. 

*  Riccio.    Son.  81 :  D'un  riccio  fargliene  calcetti. 
Salamandra.    Son.  89,  93. 

Satir.     Ca7iz.  II  (line  117). 

Seepe.    Frot.  p.  178. 
Canz.  II  (line  97). 

Serpente.    Str.  46 :  Ogni  serpente  con  rabioso  tosco. 
Col  tempo  domar  sente  la  dolzezza. 

Sparviere.    Son.  142 :  lo  fui  di  scbiatta  sparviere. 
(Note:  "  non  bevvi.") 

Starna.    Son.  89  :  E'  suol  saper  trovar  le  starne  el  bracco. 
Son.  100 :  Come  le  starne  di  Monte  Morello. 
Son.   Ill:   L'un  dice   Cbe  le  starne  f anno  una  peverada. — 
L'altro  dice  del  cappone. 

Tafano.    Son.  85. 

Talpa.    Son.  78. 

Tarabttso.    Son.  98:  tarahusso. 

Testuggine.     Str.  81 :  v.  falcoyie,  p.  104. 

TiGRE.    Str.  43  :  v.  Hone,  p.  105. 

Tinca.    Son.  120 :  Tinche  lesse,  e  poi  riconce. 

Topo.     Son.  28:  Come  al  topo  quand'  esce  dalle  trappole. 
Referring  to  blows  raining  npon  one. 

*  Vespa.    Beca„  p.  15 :  Come  le  vespe  a  I'live  primaticce. 
Zanzara.    Son.  106 :  Le  zanzare  banno  assediato  Orfeo. 

Frot.  p.  183. 


Glossary  and  Index  of  Anitnals 


107 


QLOSSAKY  AND  INDEX  OF  ANIMALS 


Abuzzago,  some  sort  of  Fal- 
con: 13 

Acceggia,  Woodcock:  13,  40 

Acciuga,  Anchovy:  102 

Aghiron,  Heron:  14,  28 

Agnello,  Lamb:  41 

Agotile,  Night-jar:  30 

Alci,  Elk:28 

Alcione,  Seagull:  14 

Alefe,  Herring:  18 

Alloco,  Long-eared  Owl:  13, 
102 

Altinanite,  Fabulous  Serpent: 
28,  39 

Andrio,     Fabulous     Serpent : 

28,  39 

Anfisibena,  Fabulous  Serpent: 

28 
Angue,  Worm:  28,  41 
Anguilla,  Eel:  13 
Anitra,    Duck:    13,    14,    41, 

102 
Apa,  Bee:  42 
Aquila,  Eagle:  19,  42 
Arache,  Fabulous  Serpent:  29, 

39 
Aragna,  Spider:  42 
Arbatraffa,   Fablous  Serpent: 

29,  39 
Ardea,  Heron:  29 
Armene,     Fablous      Serpent : 

29,  39 
Arpia,  Harpy:  102 


Arunduco,  Fabulous  Serpent: 

29,  39 
Asino,  Ass:  13,  29,  42,  102 
Aspido,  Asp:  20,  29,  103 
Assi,  Serpent:  29,  39 
Assillo,  Gadfly:  43 
Assiuolo,  Owl:   13,   103 
Assordio,     Fablous     Serpent : 

29,  39 
Astor,  Ooshawk:  9,  43 
Atilon,  Some  species  of  bird: 

29 
Avelia,  Shrike:  13 
Avoltoio,  Vulture:  14 
Babbuino,    Baboon:    13,    44, 

103 
Baiardo,  Rinaldo's  Horse:  44 
Balena,  Whale:  9,  10,  45 
Balestruccio,      Mouse-martin : 

13 
Barattola,  Teal:  13 
Brabagianni,  White  Owl:  13 
Barbio,  Barbel :  13,  46 
Bavalischio,  Basilisk:  20,  29, 

46,  103 

Beccafico,     Garden    Warbler : 

15,  46,  103 
Becco,  Goat:  29,  46 
Berta,  Jay:  47 
Bertuccia,    Barbary   Ape:    9, 

47,  103 

Beruse,  Fabulous  Serpent :  30, 
39 


8 


108 


Glossary  and  Index  of  Animals 


Bevero,  Beaver:  13 

Biscia,  Snake:  13,  47 

Bissonte,  Buffalo:  30,  47 

Bistarda,  Bustard:  30 

Boa,  Boa:  30 

Boccino,  Calf:  48 

Boncio,  some  species  of  Fish: 

13 
Bora,  Snake:  30,  39 
Botta,  Toad:  48,  103 
Bottaccio,  Song  Thrush:  13 
Bracco,  Fox  Hound:  103 
Bravieri,  Corn  Bunting  13 
Bruco,  Caterpillar:  48 
Bue,  Ox:  15,  48,  103 
Bufol,  Buffalo:  15,  49,  103 
Caferaco,    Fabulous   Serpent: 

30,  39 
Calandra,  Lark:  13,  30,  103 
Calcatrice,  Cockatrice:  30 
Calcinello,  Shellfish:  13 
Calderino,  Goldfinch:  13 
Calenzuol,  Green  Finch:  15 

Callirafio,  Fabulous  Animal: 

30 
Cameleone,   Chameleon:   13 
Cammello,  Camel:  9,  49 
Canoscio,  Chamois:  13 
Cancro,  Crab:  20 
Cane,  Dog:  15,  31,  50,  103 
Capinero,  Black  cap:  13 
Capitorza,  Wryneck:  13 
Cappone,  Capon:  52,  103 
Capra,  Goat:  13,  31,  52 
Caprimulgo,  Goatsucker:  31 
Carita,  Fabulous  Bird:  31,  40 
Carpione,  Carp:  13,  103 


Castor,  Beaver:  20 
Catoblepa,  Fabulous  Serpent: 

31 
Cavallo,  Horse:  9,  10,  31,  53, 

103 
Cavriuol,    Roebuck:    15,    56, 

103 
Cefo,  Monkey:  31 
Celeno,  Harpy:  103 
Centupede,  Centipede:  32 
Cerasta,  Horned  Viper :  13,56 
Cerbero,  Cerberus:  56,  103 
Cerviere,  Lynx:  15,  56 
Cervio,  Stag:  9,   11,  32,   57, 

103 
Chelidrio,  Water-snake:  32 
Cheppia,  Shad:  13 
Chimera,  Chimera:  57 
Chiocciola,  Snail:  57,  103 
Chirone,  Chiron  the  Centaur: 

57 
Chite,  Fabulous  Bird:  32 
Ciacco,  Pig:  58,  103 
Cicala,  Cicada:  104 
Cicigna,  Lizard:  13 
Cicogna,  Stork:  13,  32,  104 
Cientro,  Fabulous  Snake:  15 
Cigno,  Swan:  21,  58 
Cinamulgo,    Fabulous    Bird : 

32 
Cingallegra,  Tit:  15 
Cinghial,   Wild  Boar:   9,  32, 

58 
Ciullo,  Ass:  104 
Civetta,  Little  Owl:  13,  58 
Coccodrillo,  Crocodile:  21,  32, 

59 
Godilungo,  Longtailed  Tit:  13 


Glossary  and  Index  of  Animals 


109 


Codirosso,  Redstart:  13 
Colomba,  Dove:  15,  59,  104 
Coniglio,  Rabbit:  9,  60,  104 
Corbo,  Crow:  15,  32,  60,  104 
Corete,  Fabulous  Bird:  32 
Comacchia,  Crow:  15,  61 
Cornioletto,    some    species    of 

Fish:  13 
Cornude,  Asp:  33 
Corvallo,  Bearded  TJmber-fisb : 

13 
Cl*ocuta,  Fabulous  Animal:  33 
Cuccio,  little  Dog:  61 
Cucco,  Cuckoo:  61 
Cuculio,  Cuckoo:  21,  104 
Curuca,  Hedge-sparrow:  21 
Cutretta,  Wagtail:  15 
Damma,  Fallow-deer:  15 
Dalfino, Dolphin:  9,11,61,104 
Dano,  Deer:  62 
Dippo,  Jerboa:  22 
Donnoletto,  Weasel:  13,  33 
Dracopopode,    Fabulous    Ser- 
pent: 33,  39 
Dragone,  Dragon:  9,  11,  33, 

62,  104 
Driaca,  Fabulous  Bird:  33,  40 
Dromedario,   Dromedary:   14, 

63 
Duraforte,   Name  of   a  War- 
horse:  63 
Eale,  Fabulous  Animal:  33 
Edipsa,  Fabulous  Serpent:  33 
Edisimon,    Fabulous    Snake : 

33,  39 
Emorrois,  Fabulous  Snake :  34 
Ermellino,  Ermine:  9,  64,  104 


Fagiano,  Pheasant:  14,  64 
Faina,  Pine  Marten:  9 
Falcone,  Falcon:  22,  64,  104 
Fanello,  Linnet:  14 
Farciglione,  Teal:  14 
Farea,  some  species  of  Snake: 

15 
Farfalla,  Butterfly:  34,  65 
Fatappio,     some     species     of 

Bird:  14 
Fenice,  Phoenix:  22,  104 
Formica,  Ant:  65 
Frusone,  Hawfinch:  14 
Gallinella,  Water-hen:  15 
Gallo,  Cock:  65,  104 
Gambero,  Cray-fish:  14 
Garzetto,  Young  Heron:  14 
Gatto,  Cat:  15,  66,  104 
Gattomammone,  Mandrill:   9, 

67 
Gazza,  Magpie:  14 
Gazza  Marina,  Roller:  15 
Germane,  Mallard:  14 
Gheppio,  Kestrel:  16 
Ghiandaia,  Jay:  16,  67 
Ghiro,  Dormouse:  16,  67,  104 
Giraffa,  Giraffe:  34,  67 
Girfalco,  Gerfalcon,  67 
Goredul,  Fabulous  Bird:  34 
Gozzivaio,  Cricket:  67 
Gracchia,  Jackdaw:  104         ^ 
Granchio,  Crab :  68,  104 
Gricchione,  some  sort  of  aqua- 
tic Bird:  14 
Grifon,  Griffin:  14,  68 
Grille,  Cricket:  69 
Gru,  Crane:  16,  69 


110 


Glossary  and  Index  of  Animals 


Gufo,  Long-eared  Owl :  14,  34, 

105 
Gurr-Q,  some  species  of  Fisli: 

69 
lacul,  Fabulous  Snake:  16 
Ibis,  Ibis:  34 

Ibor,  Fabulous  Bird:  34,  40 
Icneumone,  Ickneumon:  34 
Idra,  Hydra:  16 
lenna,  Hyena:  23 
Incendola,    some     species    of 

Bird:  35,  40 
Ippotamo,  Hippopotamus:  35 
Irundo,  Fabulous  Serpent :  36, 

39 
Istrice,  Porcupine:  16,  69 
Lampreda,  Lamprey:  14,  70 
Lasca,  Roacb:  14,  70 
Lattizio,  animal  similar  to  the 

Ermine: 16 
Lattonzo,  Sucking  Calf:  71 
Leofante,    Elephant:    10,    36, 

71 
Leopardo,  Leopard:  11,  72 
Lepretta,  Hare:  16,  73,  105 
Leucrocuta,  Fabulous  Animal : 

36 
Levriere,  Greyhound:  73 
Licaon,    South   African    wild 

Dog:  36 
Ligusta,  some  species  of  Lob- 
ster: 14 
Liocomo,  Unicom:  12,  73 
Lione,  Lion:  9,  36,  74,  105 
Liontofono,  Fabulous  Animal : 

36 
Lodoletta,  Skylark:  18 
Lontra,  Otter:  10,  78 


Lonza,  Leopardess:  10 
Luccio,  Pike:  14 
Lucciola,  Firefly:  78 
Lucherino,  Siskin:  14 
Lucidia,  Fabulous  Bird:  36 
Lui,  Wren:  14 
Lumaca,  Slug:  78,  105 
Lupo,  Wolf:  10,  36,  78,  105 
Lusignuol,     Nightingale:    16, 

81,  105 
Macli,  Elk:  36 
Manticore,  Fabulous  Animal: 

37 
Maragon,  Cormorant:  16 
Marsia,    the    Satyr  Marsyas: 

81 
Martora,  Marten:  14 
Mastino,  Mastiff:  81 
Mattafellone,   Ganelon's 

Horse:  82 
Meonide,  Fabulous  Bird:  37 
Merla,  Blackbird :  14,  82,  105 
Miccio,  Donkey:  82,  105 
Mignatta,  Leech:  82,  105 
Miiion,  Kite:  16 
Minosse,  Minos  the  demon  of 

the  Inferno:  82,  105 
Monaco,  BuMnch:  16 
Montanello,  Linnet:  14 
Montone,  Ram:  82 
Morena,  Lamprey:  14 
Mosca,  Fly,  16,  37,  83, 

105 
Moscado,  Musk-deer:  14 
Moscardo,  Sparrow-hawk:  12 
Moscherino,  Midge:  84 
Moscione,  Midge:  84 
Muccin,  Midge:  105 


Glossary  and  Index  of  Animals 


111 


Muggine,  Mullet:  9 
Mul,  Mule:  16,  105 
Mulacchia,  Jackdaw:  17,  84 
Muso,  Streaked  Gurnard:  14 
Naderos,    Fabulous    Serpent : 

37,  39 
Natrice,  Water-snake:  37 
Nibbio,  Kite:  17,  84 
Nicchio,  Mussel:  14,  84 
iN'iteragno,  Fabulous  Bird:  14 
Oca,  Goose:  17,  37,  85,  105 
Occhiata,  Eay:  14 
Grata,  Gilt-^ead:  14 
Orso,  Bear:  10,  85,  105 
Ortolano,  Ortolan:  14,  86, 105 
Ostrica,  Oyster:  23 
Pagolino,  Plover:  14 
Pantera,  Panther:  9,  86 
Pappagallo,  Parrot:  23,  105 
Pardo,  Leopard:  86 
Passer,  Serpent:  37,  39 
Passera,  Sparrow:  17,  105 
Pavone,  Peacock:  17,  87 
Pecchia,  Bee:  87,  105 
Pecora,  Sheep:  17,  87,  105 
Pegaso,  Pegasus,  the  Winged 

Boirse:  37,  88 
Pellican,  Pelican:  23,  88,  105 
Peregrin,  Louse:  105 
Pernice,  Partridge:  17 
Pesce,  Fish:  38,  88,  105 
Pesce  Cane,  Dogfish:  9 
Pesce  Perso,  Perch:  14 
Pesce  Rondin,    Flying  Fish: 

14,  17 
Pesce  Tordo,  species  of 

Wrasse:  17 


Pettirosso,  Redbreast:  14 
Picchio,  Woodpecker:  23,  89, 

106 
Pincione,  Finch:  14 
Piombino,      Kingfisher :      14, 

106 
Pipistrello,  Bat:  18,  106 
Pispola,  Meadow-lark:  14 
Polio,  Chicken:  90,  106 
Polpo,  Octopus:  18 
Porco,  Pig:  18,  90,  106 
Porfirio,  Coot:  38 
Prester,  some  species  of 

Snake:  38 
Pulcin,  Chicken:  90,  106 
Putta,  Magpie:  90 
Puzzola,  Polecat:  14 
Quaglia,  Quail:  18 
Raggiata,  Ray:  14 
Ragno,  Bass:  14 
Ramarro,   Green  Lizard:   14, 

90,  106 
Ranocchio,  Frog:  91 
Raperugiol,  Green  Canary:  18 
Riccio,  Hedgehog:  106 
Rigogoletto,     Golden    Oriole : 

24 
Rimatrice,  Fabulous  Serpent: 

38,   39 
Rinoceronte,  Rhinoceros:  38 
Rombo,  Turbot:  14 
Rondello,  Uggieri's  Horse:  91 
Rondine,  Swallow:  18 
Rondone,  Swift:  14,  91 
Salamandra,  Salamander:  24, 

106 
Salmone,  Salmon :  9 


112 


Glossary  and  Index  of  Animals 


Salpiga,  some  sort  of  Serpent : 

38 
Sardella,  Sardine:  14 
Sassello,  Redwing:  14 
Satir,  Satyr:  91,  106 
Saure,  Fabulous  Serpent:  38 
Scarza,  Parrot-fisli:  14 
Schiamazzo,  Decoy-bird:  92 
Scilla,  the  Monster  Scylla:  25 
Scimia,  Monkey:  92 
Scoiatto,  Squirrel:  9 
Scorpio,  Scorpion:  18,  25,  92 
Scriccio,  Wren:  38 
Sepaiuola,  Wren:  14 
Seppia,  Cuttle-fisb:  14 
Serpe,  Serpent:  18,  92,  106 
Serpente,  Serpent:  12,  39,  93, 

106 
Sgombero,  Mackerel:  14 
Sirena,  Siren:  13 
Smerlo,  Merlin:  18,  94 
Soglia,  Sole:  14 
Soro,  Young  Hawk :  94 
Sparvier,     Sparrowbawk :     9, 

94,  106 
Spettafico,  Fabulous  Serpent: 

39 
Spinoso,  Hedgehog:  9,  94 
Starna,  Partridge:  18,  94,  106 
Storione,  Sturgeon:  9 
Storneletta,  Starling:  26,  94 
Struzzo,  Ostrich:  18 
Tafano,  Horse-fly,  95,  106 
Talpa,  Mole:  18,  95,  106 
Tarabuso,  Bittern:  95,  106 
Tarando,  Reindeer:  39 


Tarlo,  Boring-worm:  95 
Tasso,  Badger:  9,  96 
Terzuolo,  Goshawk,  18,  96 
Testuggine,  Turtle:  96,  106 
Tigre,  Tiger:  96,  106 
Tinea,  Tench:  14,  96,  106 
Tiro,  some  species  of  Snake: 

26 
Tonno,  Tunny:  9 
Toos,  Fabulous  Animal:  39 
Topo,  Mouse:  96,  106 
Tordella,  Missel-thrush:  14 
Tordo,  Thrush:  14,  97 
Toro,  Bull:  98 
Tortoletta,  Turtle-dove:  26 
Tragelafo,  Deer:  39 
Triglia,  Mullet:  14 
Trota,  Trout:  14 
TJccel    che    suol    beccare    il 

fungo:  26 
TJccel  Santamaria,  Kingfisher: 

14 
Upupa,  Hoopoe:  18 
Vacca,  Cow:  99 
Vaio,  Grey-squirrell :  9 
Vegliantino,  Orlando's  Horse: 

99 
Veltro,  Greyhound:  99 
"Verro,  Boar:  100 
Vespa,  Wasp:  106 
Vipra,  Viper:  26,  100 
Volpe,  Fox:  9,  39,  100 
Zanzara,  Gnat:  89,  106 
Zibbetto,  Civet:  14 
Zibellino  Sable:  14 
Zigolo,  Bunting:  14 


Luigi  Pulci  and  the  Animal  Kingdom  113 

VI 
BIBLIOGRAPHY 

A.       PULCI'S    WOKKS 

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Morgante  Maggiore  di  Messer  Luigi  Pulci.    Milano,  1806. 

II  Morgante  Maggiore  di  Luigi  Pulci,  con  note  filologiche  di 
Pietro  Sermolli.  Firenze,  1858.  (This  is  the  edition  used  for 
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II  Morgante  Maggiore  di  Luigi  Pulci,  con  note  di  Eugenio 
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II  Morgante  di  Luigi  Pulci:  testo  e  note  a  cura  di  Guglielmo 
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ERRATA. 

Page  24 ;  note  68,  read  p.  9. 

Page  46;  under  Beeeafico,  XXV,  216,  read  Posti  a  sedere,  eeco 

g'iunto  un  piatello. 
Page  4!);  under  Cammello,  XVTIT,  129,  read  p.  42. 
Page  62;  under  Dragone,  Xl\,  81,  read  p.  11.    Note  27,  read  p.  41. 

Note  28,  read  p.  11. 
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Page  109;  (index)  Curuea,  p.  22. 
Page  110;  (index)  Lodoletta,  p.  16. 
Page  111;  (index)  Mulaechia,  p.  16. 


VITA 

I  was  born  in  Bristol,  New  York,  February  10,  1881,  a  son 
of  Julius  and  Maria  Louise  (Woolston)  Shnlters.  I  received 
my  preparatory  education  in  the  Canandaigua  (N.  Y.)  Acad- 
emy, graduating  in  1900.  The  following  year  I  continued  my 
studies  in  the  same  school  and  received  an  advanced  diploma  in 
1901.  During  the  academic  year  1901-1902  I  was  a  special 
student  in  music  for  two  terms  at  Syracuse  University,  taking 
courses  in  Piano  and  Theory  of  music.  In  1906  I  entered  the 
University  of  Illinois,  from  which  I  received  the  degrees  of 
Bachelor  of  Arts  in  1910  and  Master  of  Arts  in  1911  (Thesis: 
Bomanticism  Versus  Realism  in  the  Works  of  Jean  Richepin) . 
I  continued  my  graduate  study  in  this  university  during  the 
years  1911-1912  and  1912-1913,  passing  the  summer  of  1912 
in  France,  where  I  attended  lectures  for  five  weeks  in  the  Sum- 
mer School  of  the  University  of  Grenoble  and  spent  some  time 
studying  in  Paris,  principally  at  the  Bibliotheque  Nationale. 
In  1913  I  received  an  appointment  as  Assistant  in  Romance 
Languages  at  the  University  of  Illinois  and  taught  during  the 
year  in  that  Department.  I  was  appointed  Instructor  in  Ro- 
mance Languages  at  the  University  of  Michigan  in  1914  but 
was  forced  by  ill-health  to  resign  my  position  early  in  the  year. 
In  1915  I  was  again  appointed  to  my  former  position  at  the 
University  of  Illinois,  where  I  have  since  continued  my  study 
and  teaching.  During  my  graduate  work  I  have  followed 
courses  with  Dr.  A.  R.  Seymour,  Dr.  J.  D.  Fitz^Gcrald,  Dr. 
D.  H.  Carnahan,  Dr.  D.  S.  Blondheim,  Dr.  J.  B.  Beck,  Dr. 
J.  Goebel,  Dr.  O.  E.  Lessing  and  Dr.  K.  McKenzie,  to  all  of 
whom  I  am  indebted  for  valuable  instruction  and  kindly  direc- 
tion of  my  studies.  The  subject  of  this  thesis  was  suggested  to 
me  by  Dr.  McKenzie  and  it  was  prepared  under  his  careful  and 
scholarly  guidance. 


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